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Poorer WILL BE HELD. 
IN THE 
GRAND BALL ROOM 
OF THE 
WALDORF-ASTORIA 
On Friday Evening, February Ist, 1901 
BEGINNING PROMPTLY AT 8.30 O’CLOCK 
‘noni i—Walter Blackman Felice 
“wen. 2—M. Rouzée Dieppe Fisher-Girls 
waxes 3—T. W. Wood His First Smoke 
wesw 4——Seymour J. Guy Country Courtesy 
a 5—A. T. Bricher Watching the Yachts 

a 6—W. S. Macy A Frosty Afternoon 
wom. 7—William Hart Cattle and Landscape 
seme 8—V. Marchetti Comrades 
vem, Q—A. Tamburini Old Friends 


The Cardinal yf : 


we 10—J. G. Vibert # j 
2 “ator? 11—J. P. Clays : Dutch Boats - Se og . 
emo 12—J. H. Witt The First Lesson f 1s . 
ween. 13—William M. Chase In Prospect Park é Lpe 
sem. 14—J. Francis Murphy Autumn S OMe 
somes, 15—W. M. Harnett Still Life Zé s. B| 
aww 16—J. C. Cazin Cottages in the North BP2 
swam, 1'7—Gustave Courbetss A A Lae Low Tide 2 éé 
meme 18—L, E. Boudin On the-Oise | So Ai 
wggem. 19—Auguste Bonheur _— Sheep in the Scotch Highlands Sau: 
jeu 20—J. J. Veyrassat |. Going to the Fair o. 2 
hase 
we 21—Fritz Thaulow ae A Wet Day# Brea | 
sags -22—R. W. Van Boskerck On the Niantic 240 
sscommain, 2.3— William Hart Morning Breaking bf ae 
or 24—M. F. H. de Haas Moonlight at Sea ny oD, 
mum 25—-W. A. Bouguereau a Girl’s Head. ”) te pe 


ctw. 20—E. P. Berne-Bellecour Two Arms of the Service yA a 
‘wees 2’7—Willem Maris Landscape and cane SKE 
eie39-1, Oe Cave ol i Head of aYoungGil “f3 


_ 29—Jean Béraud In the Place dela Concorde OG 
gore ; 


Sadie Age an Ca a Os et gy te ee a ? 


“ges 30—J. J. Henner Lola = /B 284 


j 


15-9 41 
The Poultry Yard ¥ BLE S| | 


eRe: 


‘we’ 31 —C. E. Jacque 


‘ges 32—J. J. Lefebvre Sappho Pat } Oe 


} as we B Ged y 


gen 33—F. P. Ter Meulen Minding’ the Flock tied tah Set 


aon 34—G. J. Jacquet Brunetta fof ay 
Se 95—J.G. Brown Wants to Shine he ey 
cep 36—Martin Rico. “| : Church of San Rocco, Venice / és 16 
, “we 37—W. T. Richards Foyon the South Shore, Newport ~ Se xi 
‘vaste 38—James M. Hart | Late Afternoon gm 34 ns 4 . 


Returning from the Boats REO x A mY 


' i ches ey oy é 4 a : 
Bese 94 “ ae 1 

<. .sti,. 41—Octave Tassaert The Abandoned wm #3 fm. _) 
on ie a ee [> = + 


Ps 


sam 39-——L. A. G. Loustaunau The Amateur Artist d] 30 | ! 


baie — OS 
ei. 40—Josef Israels 7. * 


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‘mee. 42——A. Pasini Market Scene in the Orient 


es , ae Monsey a 
xe 43—B. J. Blommers : Returning Home ... aly B= 
% 222% FB amy: 

Toye a % 


‘a 5, y TK 
tim. 44—]. C. Cazin | Elsinore } DK, 


 45—Jules Dupré In the English Channel . “FOO 


sm 46—C. F, Daubigny "T Prysi Byening = / [Oo 


a ae 47—). C. Cazin | The Village of Macherin . # O¢ 


*: 2 & 
See 48—]. B. C. Corot Morning ~~ ry, o es 


5 seeming 


few 49—N. V. Diaz The Virgin and Children YS AF 


ows ~—5Q-—Jules Dupré et The Watering Plac 
wa. 51—A. Vollon Flowers and Fruit il 
aw: 52—E.-G. Grandjean _ In the Park foo | 
“| 
erm 53—N. V. Diaz Les Gorges d’Apremont 2 Ay Soa) 
wm —swommesoy, 54—Marie Dieterle A White Cow Ai Al 


es. 55-—George H. McCord Sunset in an English Harbor 


wwe 50—R. de Madrazo Sweet Do-Nothing 
nm 59——Felix Ziem W PP Venice from my Window 
sae 58—Raffael Sorbi i. tall _ aha of Cards 
59—Henri Lerolle Returning Home > 
60—J. C. Cazin | ane Dunes 
wm 61-—C. E. Jacque wy if’. x, fe f "Stable Interior 
wauwee O2—Henry P. Smith . Gan Trovaso, Venice 
ww. 63—Felix Ziem | | The Old Port of Marseilles : 


vse 64—Henry W. Ranger » /” % A November Pasture 6 od 


waite 65—C. EB. Jacque i Shepherdess and Flock dy hoe 
ye’ ©06—Virgilio Tojetti The Dancing Lesson. “bs Gq, 
‘sam 67—Claude Monet Vétheuil f Sai 2, 
ve 68—Alfred Sisley | On the Banks of the Loing: mortiris Tipe 
wom €09—Camille Pissarro ; The Orchard /# 7 B 


ee 


Luella Fai : 


ental y io 


es Capture of a British Flag at Waterloo 


: | ‘ a The Proposal 


2 


“Dz . Ridgeway Knight “The Little Shepherdess me a Lh » 
v _ AMERICAN ART ASSOCIATION, ai 


MANAGERS. 


IE suf " 


Pisce’, 
Layee + 


a ~ a 
URINE 5 er eo 


sd 


d ballroom of the Ae aidout katona 
Thomas E._ Birby of, the American Art 
A ociation last evening for $66,125. The 
2 id formed. the collection of George 
per of Holyoke, Mass., made for his 
enjoyment. - The sale was the first 
Be kind conducted in the ballroom of 


es nee number of ordinary low-priced 
res included the average price was 
y $900. | 

“y aceue’ ’s “Shepherdess and Flock” had two 
stout: ‘admirers in the gathering who, when 
fe: bidders stopped bidding, pushed up 
price of this painting to $4,600, the highest 
of the evening. The successful bidder 
himself under a pseudonym. It 
id that he was E. Dwight Church of 
kiyn. The painting showed a flock of 


ess. stands under an oak tree near the 


sheep. 
' The buyers were as erratic as usual at a 
bu iblie sale. Dupré’s fine marine, “In the 
. English Channel,” sold at $950; a pastel by 
p ‘Détaille, “Capture of a British Flag at Water- 
loo,” at $1,425; Gérome’s “Louis XIV. and 
his Court in the Park of Versailles” at $1,600; 
Ridgeway Knight’s “Little Shepherdess” at 
aban The bidders, with a fine scorn of an 
i injudicious ‘eriticiam which had appeared 
_of the Corot, “Morning,” sent it up with 
Ee etude to $2,700. 
The impressionist paintings were freely 
| bia for, but were not pushed up to high prices. 
The Monets went at $1,550 and $1,600 respec- 
bayer: Sisley, whose pictures have, since his 
i coe /., commanded very high prices abroad, 
20t interest the buyers greatly and the 
example of his work sold for $770. 
‘o's “Orchard,” a painting of a quality 
pete to, be tired of, sold at $1,175. 
en with a thorough auction-room spirit 
“seemed to to be after Pasini’s “Market Scene 
the Orient and it went rapidly u 5 A $2 
ph which figure Frank Savin bought it There 
as a similar spirit and impatience of oppo- 
“sition in the bidding for Jacquet’s “The Pro- 
osal,” which was sent up to $1,675. Lovely 
azins went for from $670 to $1, 900, a Jacque 
‘eazis picture and a Dupré landscape at $2,000 
ryan an Israels at $2,050, possibly purchased 
abroad, and a Diaz at $2,500. 
y lowing are the pictures in the order 
of the catalogue, with the names of the mye 
ie ere announced, and prices: 


sat the edge of the wood. The shep- 


600, ° 


ee 


“Low ” Courbet; J - Montaignac. .. reese see) 


“On the Oise,” BO GU solic. vesd te ues Sep peuis 5B 
“Sheep in the Scotch Highlands,” ‘Auguste Boa: 7 


heur; G. S. Allen 


“Going” to the Fair, Gat il ¢ Veyrossat;, Ae M. 


Mirst Lesson,” J. H. Pee hee 
se Prospect Park.” William M. Giese: ‘Sle ie 
“Autumn,” J, Francis Murphy. . Nes eatehhs 
“Still Life,” W. M. Harnett; L. M, ‘Hart yy 
 “Ootta ef ‘in the ore ” Cazin; J. Montatgna 


Benjamin. . “s aad 
a ey opay » Brite “‘Thaulow: - ae " Harsen s 075, 
ib. Bib Fees e bel phe el adele Leite letpn anton Stu lie ese) a) wiiehiet 2 
oe the Niantic,” R. W. Van Boskerck; RC. pee fic 
“Morning Breaking,” oe Hart; M. Stein.” - 400° 
“Moonlight at Sea,” M, F. H. de Haas: Wath cece 
ee NAOT OS ES Sli) yn ONE Sear oc cA nag Lg Naira nee Be Hee BQO? 
| “Girl's Head,” Bouguereau; “J. ‘Henty”: tea 725. 
| “Two Arms of the Service,” Berne-Bellecour; ae 
de MDG IMs SONOS tis coi. cahkecils tect neue memea eee : 560 
| “Landscape and Cattle,” Willem Maris; A. Au niyo eta 

TUStUS Healy oF. iets eines ok wena ereeeeaqnes 570 
“Head of a Young Girl,” J. C. ‘Cave: Fisohel, Ht aM 

Adler & Schwartz... 0006.00 asia es 485 
“In the. Place de la Concorde,” Jean Beraud; a Tea 

LO. Delmonhiao (220 /s ae eee er ye — 300° 
“Lola,” Henner; Max Bleiman..,......... Ath 1,026 
“The Poultry Yard,” Jacque; “Dwight”....... 1,523 ° 
“Sappho,” Lefebvre; Wi R. Hearst. 2.2.5. 2.05 0 850. 

“Minding the Flock,” Ter Meulen;: J. ia He 

taiguac. . Rei OLA Req eit RL T cKir | SOURS, sin aise ee OO: 
“Brunetta,” Jacquet; Biank BREE ey Casha rife he sidieieiet) OfOe 
“Wants to Shine,” J. G. Brown; Blank....,... _ 505 

_ “Church of San Rocco, Venice,” Rico; Blank... 1,025 
|. “On the South Shore, Newport,” W. i Richards; gies 

“WAGES oe) ass ie a ee cease eae RL ae whe alah he OUT 

“Late Afternoon,” James M. Hart: Blank. Sas wie be ease 
“The Amateur Artist,” L. A. G, Loustaunau; we 

Bo Ne MOT RS cha Se as vote aR ap '* 480 

x Ee from the Boats,” Israels; C. Dowdes- : ou 
Pee erie et eH ee hee we OH ee Oo ee oe > “4 
“The Abandoned,” Octave Tassaert; Boussod, Meaty 

Valaden’&-Coj) oo, See ae me neuer ne 210. 
“Market Scene in the Orient,” Pasini; Frank WwW. 

Savin: & 4Y 5 Si Oe a Sacer ae ee +. 2,600. 
“Returning Home,” Blommers; George D. Ben- 

bo Spe RAG ce ene a A a 3 360 

\. “Rl sinorey" Caine nian te iio) aes eee ane 1,025. 

| “In the English Channel,” Dupré; I. K. Fietcher, 950° 
“Evening,” Daubigny;: James T. Doe io. 7S BOB: 
phe sy A age of Macherin,’ ’Cazin; ‘A. Leursohn, “800. 

| “Morning,” Corot; A. Leuréohin dt eee ae 2,700 
“The Virgin and Children, 4 ay A. Leursohn. 700° 

“The Watering Place,” Dupré; A Leursohn.. 2,000 

“Blowers and Fruit,” ‘Vollon:-B. Stetn...... so WEB 

| “In the Park,” E. "Ge Grandjean; James. Met- 

AT) Ema ICA nm em ai chee ee Be iE, ~ 500 
“Les Gorges d' Apremont,” Diaz; James T. ‘Abbe. 2,500 
“A White Cow,” Marie Dieterle; M. Stein ge ci Ato: 
“Sunset in an English Harbor,” George. Hi. nh Cag 

Cord: Aa A Mea yy ois eee cea eat Hee Oy 

“Sweet Do-Nothing,” R. de Madrazo: R. K. 'O, nf 

Salto Co ce a ea Sete 600 
“Venice from My Window, ” Ziem; R, A. Halsted. 1,400 
“A Game of Cards,” Raffael Sorbi; R. A. C. 

StH i Oo a 1,475 
“Returning Home,” Lerolle; John. Claflin... ve 1,025 
“Sand Dunes,” Cazin: W. M."Laffan.......... 1,900 
“Stable Interior,” Jacque; RAY COCoimien. 205k 2,000 
“San Trovaso,” Venice,” Henry P. Smith: R. A. 

(G08 2) 29 1d a RE RMSE ay op LLL guns) Sy 260 
“The Old Port ‘of bebashivaae vid Ziem; R. A. C. 

= SSrrphtha so a w P  ee 1,800 
“A November Pasture,” Henry WwW Ranger; 

bis POO és Sona Le ene nian eh nee 600. 
| “Shepherdess and Flock,” Jacque; “Dwig nat 4,600 
| “The Dancing Lesson,” Sire! fe) Toletti: P i. 

Ma eMahon ADR AROIE Erie ahah ei Nl oe Sper ogi ee 450. 
“Vétheuil,” Monet; Dutaha FRUGU Ae ee seat ay ‘1,550. 
“On the Banks of the Loing? Morning,” Sisley: 5 

Morris: FATS chia ois.5 cee atu er seek eo eee a alg eae ants 47 441 
“The Orchard,” Pissarro: A. Olivotte.......... uaa hod: 
“Old Chureh at Vernon,” Monet; Durand-Ruel.. 1,600. 

| “Good Friday Morning,” Fritz.von Uhde; Hugo 

BUSIN MOR ios y vceieyece stehlisa lee Nene wee Dead aie 350 
“Capture of a British view at Waterloo,” De- ; 

taille. HM e eid witty Aaeen 
“The Pro] sal, a Jacquet: ™M. 8. “Allen FRAP ota) 1,675 
“Louis X: IV. and his Court in the Park of Ver- ee 

sailles,” GéroOme; Edward Brandus......... 1,600 
wae Little Shepherdess,” Ridgeway Knight; 

1,700 


AS EUR TEE Gils ces oatratnin ay Wis’ Sipla eo Teae is adatetee 


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THE 


GEORGE N. TYNER 


COLLECTION 


Bh 


Raa ad 


eS ae 


ILLUSTRATED CATALOGUE OF 
THE PRIVATE COLLECTION 


VALUABLE MODERN 
PAINTINGS 
MR. GEORGE N. TYNER 


ON FRIDAY EVENING, FEBRUARY IST, 1901 


BEGINNING AT HALF-PAST EIGHT o’CLOCK 
IN THE GRAND BALL ‘ROOM OF 
THE WALDORF-ASTORIA 


ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


FROM JANUARY 28TH UNTIL THE MORNING OF SALE 


INCLUSIVE 
THOMAS E. KIRBY AMERICAN ART ASSOCIATION 
AUCTIONEER MANAGERS 
NEW YORK 


1901 


EG RRA NEN: 
rca itt 5 
Ww Ee 
Seman aks 


‘ 


Wh te ames § ee SI 
RVR 


wi 


Seagate | Copyright, rgor, by 
Robbery AMERICAN ART ASSOCL 


c Press of J. J. Lirrtz & Co. 
Astor Place, New York t 


Photogravures by 
A. W. ELson & Co., Boston 


\ j 
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} ' 
ie 
‘ Favs f . 


RAPHICAL NOTES AND” 


ve 


BIOGRAPHICAL NOTES AND 
APPRECIA TIONS 


ERAUD (Jean) Contemporary 


Jean Béraud was born at St. Petersburg of French parents in 
1849. His studies at the Lycée Bonaparte were cut short by the siege 
of Paris, during which he served as a soldier in the Garde Mobile. 
After the restoration of peace he entered the studio of Bonnat, and began 
sending pictures to the Salon in 1874. At the Exposition of 1889 he re- 
ceived the Grand Prix, was made an officer of the Legion five years later, 
and at the recent exposition was Hors Concours. 

In the early part of his career he was very successful in truthful and 
spirited scenes of everyday life in Paris, contributed to the illustrated 
journals. Similar subjects have occasionally occupied his later efforts, 
as in the picture in this collection ; interspersed with portraits that have 
obtained him a good ranking. But the work of his which has aroused 
the greatest interest and no little controversy has been his rendering of 
incidents from the life of Christ, set in modern environment. Two of 
these were to be seen again at the recent Exposition: ‘‘ The Descent 
from the Cross” and ‘‘The Magdalen in the House of the Pharisee.” 
In the former a group of humble folks are tending the lifeless body, 
while a workman, standing on the brink of the hill, shakes his fist to- 
wards the smoke-stacks and huddled factories of a manufacturing town 
below. The other picture represents a dinner-party of men of fashion ; 
coffee is being handed ; Christ sits at the head of the table and at his 
feet is prostrated a woman in handsome evening costume. No wonder 
the cry of sensationalism was raised; and yet it is impossible to deny 
the tremendous meaning behind this ruthless satire of modern life or to 
shut one’s eyes to the artistic reticence with which the daring anomaly 
is represented. 


acs ERNE-BELLECOUR (Etienne-Prosper) 
Contemporary 


This popular painter of military subjects was born at Boulogne in 
1838. When nineteen years old he entered the Beaux-Arts and stud- 
ied under Picot and Barrias; gaining a living meanwhile by photogra- 
phy. His efforts in this subject gained him a medal at the Universal 
Exposition of 1867, and were continued even after a picture had been 
accepted at the Salon; until Vibert, who had become his brother-in-law, 
induced him to devote himself exclusively to painting. The following 
year, 1869, he won his first medal, and then visited Algiers in company 
with Vibert, Latour, and Detaille. The friends, however, were recalled 
to France by the outbreak of the war, and served together in the Artists’ 
Brigade ; Berne-Bellecour receiving a medal for bravery at the battle of 
Malmaison, a scene which he afterwards represented on canvas. His 
military experiences had fixed his career. In 1872 his ‘‘Coup de 
Canon” received a first-class medal, and at the Exposition of 1878 he 
was admitted into the Legion of Honor. 

His success was remarkable. He visited the court of Russia, and 
was entertained with favor by the Emperor. His vigorous personality 
has also sought an outlet in sculpture, engraving, and etching; while, in 
collaboration with Vibert, he produced successfully the play of ‘‘ Le Tri- 
bune Mécanique” at the Palais Royal Theatre, and has written many 
essays, Sketches, and criticisms, | 


LACKMAN (Walter) Contemporary 


Although he works in London, Walter Blackman ‘s a native 
of Chicago, where he was born in 1847. He studied at the Ecole des 
Beaux-Arts under Géréme, and is identified particularly with the render- 
ing of delicate types of female beauty. 


“B LOMMERS (B. J.) Contemporary 


At the recent Exposition in Paris, Blommers received a 

gold medal. 
He was born at The Hague in 1844, and in time became a pupil of 
its Academy. His first exhibit was made in 1869, when his picture was 
hung next to one by Israels. This led to a friendship between them the 


influence of which is clearly perceptible in. his earlier work. But his 
temperament is sunny, and while he enters with sympathy into the life 
of the peasants, his gezre pictures of domestic scenes are happier in sug- 
gestion than those of the older man. The picture, exhibited at Paris, a 
large canvas, represented a,mother and three children paddling in the 
_ shallow waves: at sunset ; a subject altogether charming in spirit and exe- 
cution. In Holland, Blommers is highly esteemed, his works hanging 
in the principal public galleries, while his reputation in other countries 
is steadily advancing. 


ONHEUR (Auguste) 1824-1884 


Auguste Bonheur was born at Bordeaux in 1824, the son of a 
struggling artist who eked out a living by painting portraits, landscapes, 
and signs, by giving lessons and making illustrations for the publishers. 
The father was so poor that even with the assistance of his wife, an ac- 
complished musician and teacher, the family barely had a subsistence. 
After his wife’s death the father moved to Paris, and, by the time that 
Auguste and his sister Rosa were respectively eighteen and twenty years, 
married a thrifty widow, whose able management made it possible for the 
talented children to pursue their art studies. 

As Hamerton says, Auguste’s striking qualities were put in the back- 
ground through the exclusive favoritism shown by the public towards his 
sister. Yet their-capabilities, like their choice of subjects, were similar. 
They were good artists of the second class. ‘‘ No one ever painted oxen 
so truthfully as the two Bonheurs, Rosa and Auguste. They are not the 
greatest painters who ever attempted the ox, but they are the most faith- 
ful. And their fidelity is not confined to the painful study of parts. 
They know the entire animal in life and action; to use the pregnant 
French expression, they fossess their ox.” 


OUDIN (Louis Eugéne) 1824-1898 


It was Boudin who advised Monet, disgusted with his brief 
experience in the studio of Gleyre, to paint only from nature. Among 
the marine and landscape painters of France he occupies a foremost 
rank, and every year establishes him more firmly in popular estimation. 
Whether painting the coast of France, or glimpses of her ports, or frag- 


ments of river scenery, as in the picture in this collection, he displays an 
intuition of the main characteristics of the scene, and renders them in 
fashion spirited or impressive, as the occasion needs. Few painters ever 
rival him in the skill with which he depicts the animation of wharves and 
shipping ; his atmospheric effects are particularly good ; he can saturate 
the scene with fresh moisture or crispen it with breeze. The hardy, vig- 
orous, out-of-door feeling is always apparent. His ability to express in 
broad simplicity a lattice-work of masts, spars, and rigging, or an ample 
stretch of sky and pasture, as in the picture in this collection, is equally 
admirable. His studies of cattle also rank among the best. He had a 
preference for rich, low-toned colors, which he used most expressively. 

He was born at Honfleur in 1824, and died at Deauville three years 
ago. 


“B OUGUEREAU (William Adolphe) 


Contemporaty 


Amidst the clash of discordant factions, Bouguereau has never deviated 
from the line he marked out for himself at first. 

He was born at La Rochelle in 1825. While employed as clerk by a 
shopkeeper in Bordeaux he was permitted by his employer to spend two 
hours each day at the Alaux Art School. His companions held the 
youth in contempt, and, when it was announced that he had won the prize 
of the year, broke out into something like a riot. The prize, however, 
was given to him and decided his career. Despite the objections of his 
family, he resigned his employment and went to live with his uncle, a 
priest at Saintonge, where he painted portraits of the townsfolk. Hav- 
ing saved goo francs, he proceeded to Paris, and entered the Beaux-Arts 
under the supervision of Picot. In 1850 he won the Prix de Rome. 
After four years’ study in Italy he returned to Paris with style and pur- 
pose fully formed, and stepped at once into recognition, securing private 
and public commissions for mural decorations. He has received every 
official honor in France, and numerous foreign orders. 

Never a colorist, he has a mastery of the line which has made him 
one of the greatest of modern draughtsmen of the nude. To naturalism 
he has never yielded ; always his work is of the formal and traditional 
type; impeccably accurate, wholly pure and healthy and pleasing in 
sentiment, especially in his rendering of children and young girls. 


These qualities have established him as a leading exponent of the semi- 
classical school of painting. 


) RICHER (A. T.), A. N. A. Contemporary 


Born at Portsmouth, New Hampshire, in 1837, A. T. Bricher 
entered mercantile life at the age of fourteen, and studied art in his 
leisure moments. He began to paint professionally in 1858, and ten 
years later moved from Boston to New York, where he has continued to 
reside. He was elected an Associate of the National Academy in 1879, 
and is a member of the American Water Color Society. 


ROWN (J. G.), N. A. Contemporary 


Among American painters there is not a more interesting per- 
sonality than that of J.G. Brown, whose forty-five years of active work form 
a bridge between the past and the present. Over it he has consistently 
pursued the line he had chosen early and since made peculiarly his own— 
the delineation of country types that are fast passing away, and of the 
New York street boy who is perennially with us. These he has treated 
with unflagging interest t and sympathy, and with shrewd but kindly 
characterization. 

The present year brings him to the three-score-and-ten mark, for 
he was born at Durham, England, in 1831. From very early years he 
dabbled in colors, and after some study in the government school at 
Newcastle-on-Tyne entered for a year at the schools of the Scottish 
Royal Academy in Edinburgh, where he took a prize in 1853. From 
Edinburgh he moved to London, and painted portraits. Finally, in 
1856, he came to this country, and opened a studio in Brooklyn. Four 
years later, when George H. Boughton gave up his studio in New York, 
Mr. Brown became its tenant, and made his first appearance in the exhi- 
bition of the National Academy, of which he was elected an Associate in 
1862, and in the following year a full Academician. He is President of 
the American Water Color Society, and has won honors both at home 
and abroad. 


‘© AVE (Jules Cyrille) Contemporary 


Born at Paris. Medal of the third class in 1886, Bronze 
medal at the Universal Exposition of 1889. A favorite pupil of Bou- 
guereau. 


egeee (Jean Charles) Contemporary 


Distinctively a poet-painter, Cazin has preserved the tradi- 
tions of the Barbizon-Fontainebleau group of landscapists, while im- 
pressing upon his work the stamp of an undoubted individuality. 

He was born at Samer in Picardy, and became a pupil of Lecoq de 
Boisbaudran, from whose ate/ier so many strong painters of realistic aims 
have graduated. Cazin commenced with figure subjects drawn from 
sacred and profane history. In 1876 he won his first medal with the 
‘**Dockyard,” gaining another the following year for ‘‘ The Flight into 
Egypt ;” the gold medal was awarded to him in 1880, and the red ribbon 
of the Legion in 1882. At the recent Exposition he gained the Grand 
Prix. In 1894 he visited the United States, and held a successful exhi- 
bition of his works at the American Art Galleries. 

Mr. Theodore Child thus describes his personality : ‘‘ M. Cazin is a 
man of medium stature, with a massive head of large volume ; long, gray- 
blond hair hanging over the shoulders ; features of great strength and 
precision ; prominent eyes, with rather heavy eyelids ; an expression of 
detachment from material things, and absorption in some internal dream.” 

His permanent reputation is based upon his landscapes, generally so 
broad and simple in treatment, yet true to the delicate variety of nature’s 
phenomena, and, whether sprightly or severe, always poetic. 


Case (William Merritt), N. A. Contemporary 


William M, Chase has few rivals in versatility and technical 
resources. In oils and water colors, as a pastellist and etcher, he exhib- 
its a mastery over his medium that is quite remarkable ; and in all his 
work, even the slightest, an admirable individuality. 

He was born in Franklin, Indiana, fifty-two years ago. After study- 
ing with B. F. Hayes in Indianapolis, he practised for a while in the 
West as a painter of portraits and still life. Later he became a pupil of 
J. O. Eaton at the National Academy schools, and in 1872 entered the 
Royal Academy at Munich, where his masters were Wagner and Piloty. 
Acquaintance with the work of modern Frenchmen, and contact with 
Americans in New York who had returned from study in Paris, enlarged 
his aims and modified his methods ; and extensive travel and study of the 
galleries of Spain, Italy, France. and the Low Countries have matured a 
style, brilliantly eclectic, yet none the less distinctly personal. Much of 
his untiring energy has been devoted to teaching, while the scope of his 
painting includes portraits, landscapes, genre subjects, and still life. 


Besides being an Academician, he is a member of the Society of Amer- 
ican Artists, and of the American Water Color Society. His ‘long list 
of successes was crowned by the award of the gold medal at last year’s 
Exposition, where he was represented by the very beautiful and dignified 
portrait, *‘ Lady with a White Shawl;” a still life, ‘‘ The Big Brass 
Bowl ;” and a landscape, ‘‘ The First Touch of Autumn.” His summers 
are spent amid the Shinnecock Hills on Long Island, the beauty of 
which he has commemorated in numberless pictures. 


‘< LAYS (Paul Jean) ” Deceased 


This distinguished Belgian painter was born at Bruges in 
1819. He became a pupil of Gudin in. Paris, and devoted himself to 
genre marine subjects, selected along the coast of Flanders, at the mouth 
of the Scheldt, and, for a while, on the Thames and east coast of Eng- 
land. His works are distinguished by serenity. There is movement, 
but it is rarely more than the shower which preludes a storm, or the feath- 
ering of waves before a gentle breeze. He was fond of moist skies, 
the tender effects of morning and evening, and the variety of light upon 
the water. Among other honors, he received medals at the Universal 
Expositions of 1867 and 1878, and was an Officer of the Legion, 


Gg (Jean Baptiste Camille) 1796-1875 


Though one of the leaders of the famous group who rescued 
landscape painting from the barrenness of the so-called classic landscape, 
Corot was in fact more classic than the classicists. True, he did not rely 
upon line and form, but he revitalized the old classic spirit in color and 
light. It has been said that during his visit to Italy he ‘‘ absorbed with 
eagerness the classic charm of Italy ;” but perhaps one may say with 
greater truth that what he saw and studied made him project his mind 
back to the classic sources from which the great Italians—architects, 
sculptors, and painters alike—had drawn their inspiration. His tempera- 
ment fitted. In its simple, happy buoyancy, perennially young, it was 
an avatar of the old Greek spirit, its open-eyed love of beauty ; serenely 
impassionate, seeking to express the abstract and universal, and always 
in a tender way, for his character was kindliness, 

So the classic feeling lies deeper than the subject of his picture. You 
will find it in the smaller studies of some familiar bit of scenery around 


Ville d’Avray, as well as in the more obviously idealized conceptions, in 
which nymphs tread the shadows of the trees in the trembling twilight. 
Even the fragment of nature does not localize the imagination, as, for ex- 
ample, one of Daubigny’s river scenes does. In them it isa pleasant, par- 
ticular spot in which the artist induces one to linger, while Corot leads 
the imagination through the glimpse into a wide beyond, His light 
and air are circulating through space ; only for a moment permeating 
this little portion of it, bathing the foliage and setting it in vibration, 
then passing on. It is not an intimacy with the landscape that they en- 
courage, but a sense of its being part of the universal whole. They 
have, therefore, the essential elements of that serene poetry which is 
petrified in the Greek statues or which marches through the Iiad— 
‘‘an expression of the deepest, simplest attributes of nature,” 

Corot’s art was not a revolt against form, but a reincarnation of the 
spirit of nature, which he expresses, being such as he was, in color, 
light, and movement. His earliest studies, by the time he had emerged 
from the studio of Berthin, and was thinking for himself, were in search 
of moving life. He was in Italy, the variegated life of which he essayed 
to sketch. But it eluded him; the figures would not stand still long 
enough to be drawn in detail; if they had, he would have missed their 
movement. So he set himself to catch the character, to portray the es- 
sentials ; and with such success that before long he could ‘‘ fix the outline 
of a ballet at the opera with a few strokes, made with lightning-like rapid- 
ity.” The words are his own and suggest at once his aim and method. 
When he turned to landscape, it was with the same intention of depict- 
ing the movement of nature—the pulsation of foliage and vibrating life 
of light and atmosphere. 

His temperament responded oftenest to the charms of waxing and 
waning light—the fragrant purity of the young morning or gracious se- 
renity of the young night. Sometimes he represented the delicate gray- 
ness of the atmosphere in France, but more frequently transposed it into 
a key of silvery luminousness, representing the verdure, now tenderly 
fresh, or misty gray and dusky green; composing his subject simply, 
with effective massing of foliage and tree forms, stirred and lapped with 
air and light. 

A silver medal of the second class was awarded him in 1833; in 1846 
he received the honor of the Legion; gold medals in 1848, 1855, and 
1867 ; and in the last year was elected Officer. The most signal honor, 
however, was a gold medal, presented to him shortly before his death, in 
1875, by his brother artists. _Dupré’s words on hearing of his death were, 
“It will be hard to fill the place of the painter ; it will be impossible to fill 
the place of the man.” Few artists have been so loved by their fellows : 
or have reflected so truly in their work the lovableness of their lives. 


G OURBET (Gustave) _ 4819-1878 


A vigorous, original personality, twisted from free develop- 
ment by opposition, and confirmed in its limitations by stubborn pride; 
yet great, notwithstanding, in itself and in its influence upon others— 
such was Courbet. 

He was born in the beautiful valley of the Doubs, where the river 
doubles upon its course, midway between the young mountain stream and 
the grown river. In the woodland dells and rocky haunts where the 
deer come down to drink he gained his love of beauty, and he himself 
was beautiful. Hamerton, writing in 1867,, describes him as ‘‘a well- 
grown, powerful man, with a face that Silvestre’ not inaptly compared to 
those of the Assyrian kings on the marbles from Nineveh, with the skin 
of a woman, and an eye of singular beauty and mildness. I never met,” 
he adds, ‘“a man who more entirely conveyed to me the impression of 
perfect simplicity and honesty. His politeness takes the form rather of 
kindness and gentleness than ceremony ; and so remarkable is this gen- 
tleness that one asks how this quiet, beautiful man can have had fire 
enough in him to fight the world so long. But the fire flashes out now 
and then in moments of imperious’ energy. He said to me one day, 
‘ Mettez vous en face de la nature et puts peignez comme vous sentirez— 
Pardieu!’ The final pardieu was electrical.” 

In early life he was under clerical influence, and after a course at the 
College of Besancon was sent to study law in Paris. He drifted, how- 
ever, into the studios ; not pursuing a steady course of training and dis- 
- cipline, but picking up a knowledge of art fragmentarily, and leading an 
isolated, independent life. This put him out of favor with the influen- 
tial painters who kept the great azeliers, and his rejection from the Salon 
for six years followed, which established his determination to assert him- 
self and work entirely in his own way. So in after years he never sup- 
plemented his lack of severe training by riper study. He remained a 
narrow and uncultured man, without even the critical sense which could 
make him dissatisfied with his own shortcomings. His originality stiff- 
ened into stubbornness. His dogmatic spirit and the antagonism it 
provoked led to an attitude of mind that at times seemed to revel in 
what was brutal. After he had received a medal in 1849, and therefore 
could no longer be excluded from the Salon, he sent pictures year after 
year which a hostile jury were compelled to hang, although they defied 
its traditions. In 1855 he made a separate exhibition of his works, and 
at Munich enjoyed a salon to himself. For this he received the Cross 
of the Order of St. Michael from the King of Bavaria, which caused his 
later refusal of the Legion of Honor to be construed into a deliberate 
insult against his own country. His open revolutionism culminated in 


1871, when he threw himself into the Commune and became its Minister 
of Fine Arts, in this capacity decreeing the destruction of the Colonne 
Vendéme on the ground that it was a monument to tyranny. When 
order had been restored, he was imprisoned for six months and heavily 
fined, and after his liberation sought exile in Switzerland, where he died 
in 1877, broken in fortune and little regretted at the time. 

Sober second judgment, however, has recognized the grandeur of 
much of his work. His creed was realism, a protest as much against 
the classic as against the romantic tendencies of his day, and a conten- 
tion that ugliness as well as beauty has its place in art; the only motive 
allowable being to paint what is in sight. This theory grew naturally 
out of his temperament, which led him to take an open, immediate inter- 
est in the happenings before his eyes, while neither character nor train- 
ing prompted him to make selection. Perpetually, however, his natural 
genius and love of beauty rose superior to affected dogmas; the great 
truths of nature appeal to him ; he attains to a height of magnificent con- 
ception, and his brush work, always coarse, becomes superbly strong. In 
his sympathy with peasant life he stands by the side of older men, like 
Millet and Israels, and with them has influenced such younger painters 
as Bastien-Lepage, Julien Dupré, and Lhermitte. 


AUBIGNY (Charles Francois) 1817-1878 


Daubigny, the youngest of the Barbizon-Fontainebleau group, 
was, more than any of the others, a painter of the paysage intime 
—the hospitable, familiar country. By nature lovable, with a heart 
that kept its sweetness to the end, unembittered by early struggles or 
cloyed with subsequent prosperity, he looked at nature as a lover,. 
with an eye only for her beauty, and finding beauty in everything he saw. 
His was no narrow range of sympathy; he rose to nature’s grander 
moods, but opened his heart even to her simplest aspects. He wooed his 
mistress as he found her—at misty evening, under lambent sunshine, or 
in placid moonlight—none the less when her face was fretted with cloud 
than when it breathed tranquillity. The universality of his affection, 
while it interfered with intensity and depth of scrutiny, resulted in a 
poetry of expression, simple and naive. It is a strain so familiarly sweet 
that it finds quick response in the hearts of many. From 1848, when he 
gained a silver medal, honors flowed to him steadily and troops of ad- 
mirers, who increasé¢ in number as time goes on. 

Inheriting artistic tastes, for his father was a teacher of drawing, and 
an uncle and aunt miniature painters whose works were received at the 


Salon, he became the pupil of his father, and later studied painting under 
Delaroche. The story is well known how he lost his chance of the Prix 
de Rome through a mistake, and how, in company with a fellow-student, 
he made the pilgrimage to Italy on foot. After remaining there a year, 
he trudged back to Paris, and subsequently paid a visit to Holland. His 
work, unlike Corot’s, shows no trace of Italian influence ; nor, indeed, of 
‘Dutch painting, except in the artless choice, as subjects, of the simple 
things around him, represented frankly, without display, for the pure 
pleasure of the doing. 

The picture which secured him the Cross of the Legion in 1857 was 
‘“‘ Springtime”; a peasant girl riding through a field of tender wheat, 
between apple trees laden with blossoms. It is now in the Louvre, as 
are his ‘‘ Vintage” and ‘*‘ The Lock of the Optivoz.” The last named 
marks the beginning of the subjects on which his ripest efforts were ex- 
pended. He lives as the poet-painter of the rivers of France—the Oise, 
the Marne, and Seine. He knew them intimately, spending the summers 
in a house-boat, passing from each to each at will, free from worri- 
ment and interruption, noting the rivers’ aspects under every guise of 
hour and weather, and conning the sweet tranquillity of farms and villages 
on their banks. As time went on, the river night-dews undermined his 
health, and he became a victim to rheumatism, which brought the end. 
He died with the name of Corot on his lips. 


Vigorous in character and always picturesque, M. F. H. de 
Haas’s*marines rank among the best examples by the older American 
painters. 

He was born in Rotterdam in 1832, and became a pupil of the Acad- 
emy in his native city. Later he spent a year in London, and then re- 
turned to paint upon the Dutch coast, studying with Louis Meyer at The 
Hague. In 1859 he settled in New York, was elected a National Acade- 
mician in 1867, and assisted in the formation of the American Water 
Color Society. He died in New York in 1895. 


) a (Jean Baptiste Edouard) 


Contemporary 


Detaille is the realist of military art, the painter of disciplined 
splendor; while his great rival, De Neuville, represented the dramatic 
aspect of the soldier’s life, its tragedy and stern poetry. 


Born in Paris in 1848, Detaille began his education at the Lycée 
Bonaparte, from which he graduated at the age of seventeen. Having 
shown some of his studies to Meissonier, he was admitted to the latter’s 
studio, and became the favorite among the few who were received as 
pupils. His first Salon picture, exhibited in 1867, depicted a corner of 
the famous studio; and a portrait of Meissonier, said to be the best ever 
painted of him, is introduced into his picture of ‘‘ The Passing Regi- 
ment,’ in which the master is standing among the spectators on the 
curbstone. It was executed in 1875, and is now in the Metropolitan 
Museum, New York. In 1868 he accompanied Meissonier to the Medi- 
terranean, and began his study of military scenes and character. The 
war of 1870 gave him his earliest experience of real warfare as a private 
soldier, and his first picture of this period won for him a second time 
a medal of the third class. In 1872 he created a sensation by sending to 
the Salon ‘‘ The Conquerors,” in which German soldiers are shown con- 
veying wagon loads of stolen property out of France. By official order 
it was excluded, but granted a second-class medal by the jury. Other 
honors followed in quick succession, and since the death of De Neuville 
in 1885 he has been loaded with official recognition and popular favor. 
At the recent Exposition he was Hors Concours. 

It is said that the only ornaments on the walls of the bed-chamber of 
the German Emperor are engravings after battle pieces by Detaille and 
De Neuville, and that under the former’s has been written by the Em- 
peror, ‘‘ Homage from the Victor to the Vanquished.” 


IAZ DE LA PENA (Narcise Virgile) 1808-1876 


In the genius of Diaz was mirrored the counteracting influences 
of his heredity and environment. From Spanish parents he drew the 
fervor of his spirit—idealistic, turbulent, directly individual—for his father 
had been a political exile, living among strangers in Bordeaux. He 
too, himself, while still a lad and apprenticed to the Porcelain Works at 
Sévres, quarrelled with his master, and trudged to Paris to face and con- 
quer poverty. Delacroix had just stirred the imaginations of the younger 
men by his revolt against classicism, and to the untutored genius of Diaz 
the romantic ardor of the older youth supplied the stimulus it needed, 
while the ignoring of line was a welcome creed to one who had learned 
but imperfectly to draw. 

For some time he maintained himself by painting little gewve and 
figure subjects, deriving his motives partly from books, and partly from 
a teeming imagination, all the while influenced by such painters as Cor- 


reggio, Prudhon, and Delacroix. In the Salon of 1831 he exhibited 
without attracting notice. The grinding poverty of this time, instead of 
daunting his spirit, taught him, one may believe, his defects of knowl- 
edge ; for when Dupré, who had been a fellow-pupil at Sévres, intro- 
duced him to Rousseau, he set himself with eagerness to learn from that 
master of scientific knowledge the real discipline of his art. He never 
forgot the debt he owed to Rousseau. In 1851, when he and not his 
friend had been made a Chevalier of the Legion of Honor, and the 
dinner was being given in honor of the newly elected, Diaz rose from his 
chair with a resounding thump of his wooden leg, and startled the com- 
pany by announcing the toast: ‘‘ Theodore Rousseau, our master, who 
has been forgotten !” 

His success was great and eventually killed him, for he was untiring 
in efforts to meet the demands of all his patrons. The coming on of 
winter was always dangerous to him, and, in 1876, feeling himself attacked 
by an affection of the chest, he went to Mentone. Here for a while 
he seemed to revive, and bravely painted on, but Death was behind his 
shoulder and surprised him in the midst of his work. 

Even before migrating to Fontainebleau in 1833, Diaz had begun to 
concentrate himself on landscapes, the subjects upon which his fame is 
enduringly based. His association with Rousseau was altogether a happy 
one. Both were giants ; Diaz in impetuosity of genius, Rousseau in the 
genius of patient observation. The latter’s accurate science was the 
handmaid to his majestic conceptions, and he supplied to the undisciplined 
fervor of Diaz just that counterbalance of serious purpose which it needed, 
and which he would have disdained to accept from a man of smaller 
calibre and aim. His soaring imagination had begun to find a firm basis 
from which it might take its flights. The real facts of nature in her 
grandeur and strength became his theme, though it was less as facts 
that he used them than as subjects and incentives for his own imagina- 
tion. He was essentially a poet, and, like the majority of painter-poets, 
a superb colorist. Color was with him an instinct, the natural expres- 
sion of an overflowing, joyous, creating spirit, and he used it with the 
daring exuberance of an improvisator of song. 


IETERLE (Marie) ‘ Contemporary 


Daughter and pupil of Emil von Marcke, Marie Dieterle was 
born at Sévres. She has devoted herself tosubjects involving landscape 
and cattle, and possesses the gift of suggesting the relation between the 
two. Her cattle are strong and lusty, drawing their nourishment from 


the rich pastures, and breathing the pure air of healthy, invigorating skies. 
She is a skilful draughtsman, representing the character as well as the 
formation of the animal, and paints with a full and free brush, which 
suggests equally the juicy vigor of the vegetation and the robust velveti- 
ness of the animal’s hide. Her father’s method was scarcely more virile. 


UPRE (Jules) 1818-1889 


‘* If I had nothing more to find out and to learn I could not 
paint any longer.” 

‘The words are Dupré’s own, and they embody the mainspring and 
method of his life. While he was still a pupil in his father’s porcelain 
factory at Nantes, he spent all his spare time in roaming through the 
country, sketch-book in hand. Unprompted, he sought nature and gath- 
ered the secrets which were to assist in revolutionizing landscape art. 
The crayon studies made at that time ‘‘ bear witness to a comprehension 
of nature unique forso young aman.” At eighteen he went to Paris 
and set himself to study the old masters; meeting Rousseau, who was 
his own age, and commencing a friendship that was to last through life. 
Of these two leading spirits in the formation of the Barbizon-Fontaine- 
bleau school Dupré had the more even temperament, which enabled him 
to make better headway with the world; but as influence and popularity 
came to him, he used both to champion his friend. The story is told 
how Rousseau had been hawking a picture over Paris, vainly endeavoring 
to sell it. Dupré took it to Baroilhet the singer, and induced him, 
much against his will, to buy it for 500 francs. It was the masterpiece 
‘** Le Guivre,” which was sold at Baroilhet’s sale twenty years later for 
17,000 francs, and is now in the Walters Collection at Baltimore. 

Dupre’s first appearance at the Salon was made in 1831, when his 
picture was botight by the Duc de Nemours, a circumstance which laid 
the foundation of his fame and fortune. Many years afterwards, as Al- 
bert Wolff relates, when the duke returned home after a political exile, 
Dupré called upon him. Both were now white-haired men. The duke took 
the artist into the salon to see the picture, and, as they stood in front of 
it, pressed his companion’s arm. ‘‘ Your art, my friend,” he said, ‘‘is 
more fortunate than you or I. It does not grow old.” 

His first medal was received in 1833; the rank of Chevalier in 1849 ; 
and that of Officer in 1870, three years after Rousseau had died, pros- 
trated with disappointment that he had been ignored for the same honor. 

Dupre’s later life was spent at L’Isle Adam, separated from his birth- 
place, Nantes, by the width of the River Oise. Here he occupied a 


modest house, unpretentiously comfortable and fitted for industrious life 
and restful leisure. He had made up for early deficiencies of education 
by careful and judicious reading, and delighted to receive and entertain 
his friends. 


Giro (Jean Léon) Contemporary 


At the recent Universal Exposition the President of the Interna- 
tional Jury of Fine Arts was Géréme. Such a dignity was fitting culmi- 
nation to the fifty-three years of honorable recognition which he has en- 
joyed since winning his first medal with ‘‘ The Fighting Cocks.” The 
picture was skyed ; but Gautier discovered it and wrote next day in the 
columns of ‘‘ La Presse”: ‘‘ Let us mark with white this lucky year, for 
unto us a painter is born. He is called Géréme. I tell you his name 
to-day, and to-morrow it will be celebrated.” It was an affected, egotist- 
ical utterance, but events have proved the accuracy of the judgment. 

Géréme was born in 1824 at Vesoul and became a pupil of Delaroche, 
whom he followed into Italy. He failed to secure the Prix de Rome, 
but consoled himself by visiting Russia and Egypt. From the latter he 
brought back a number of studies which were only superficially inter- 
esting compared with the work that he gathered in his second visit to 
that country ; but the public crowded to see them, and Géréme’s popu- 
larity was fairly started. It was immensely advanced a little later by his 
**Duel after a Masked Ball,” painted with an unpassionate coldness 
that makes the tragedy the more terrible. This complete objectiveness 
of mental attitude is one of his main characteristics. Whether depicting a 
scene of horror, as in the ‘‘ Death of Cesar,” or of sensuous abandon- 
ment, as in “‘ Phryne before the Tribunal,” where the famous courtezan 
unveils her beauty nude before the judges, there is no trace of personal 
feeling on the artist’s part. He makes a cold analysis, and records the 
facts as dispassionately as a surgeon. The inevitable result is that he 
does not move us either. He stirs our admiration, but leaves the emo- 
tions cold. 

His store of archzological knowledge is immense. He has spared no 
pains to acquire it; thinking little of making a flying visit, perhaps to 
Rome, to gather some morsel of fact, and hastening back before the 
colors on the half-finished picture were yet dry. In sucha picture as 
“* The Century of Augustus,” in which he represents the culmination of 
Roman civilization and its decline into the Middle Ages, the accurate 
knowledge of detail is almost unlimited. One finds it in smaller quan- 
tity, but completely convincing, in the picture of ‘‘ Louis XIV. and his 


Court,” in the present collection. The accuracy does not obtrude itself, 
for it has been made subservient to securing a complete vratsemblance. 
The pageant of the times is actually before us; we live in the very at- 
mosphere of it, and share, it may be noted again, the painter’s dispas- 
sionate attitude. We feel the hollowness, as well as the stateliness, of 
the spectacle. 

Géréme is a brilliant draughtsman, skilled in the wisdom of the 
French technicians. His second visit to Egypt enlarged the resources 
of his palette, but color with him is not an instinct. It is, rather, a 
cultivation. He is the great exponent of artistic scholarship. 


(ZRANDJEAN (Edmond-Georges) Contemporary 


Born at Paris. Pupil of Pils and Yvon. Medals of the third and 
second class, respectively, in 1888 and 1808. 


(vuy (Seymour J.), N. A. Contemporary 


An Englishman by birth, born at Greenwich in 1824, and having 
received his art training in London, Seymour J. Guy came to America 
at the age of thirty, and has since identified himself completely with 
the land of his adoption. After obtaining considerable success as a 
portrait painter, he turned his attention to gexre, particularly to sub- 
jects of domestic life, upon which he has established a widespread popu- 
larity. He became an Associate of the National Academy in 1861, 
a full member four years later, and was one of the original members 
of the American Water Color Society. His pictures are character- 
ized by finished draughtsmanship, agreeable color, and a serious and 
conscientious method. 


ARNETT (William ML) Deceased 


This popular painter of realistic still life was born at Phila- 
delphia in 1851. After graduating from the schools of the National 
Academy he studied for four years in Frankfort and Munich, 

‘*A number of larger canvases, calculated for purposes of illusion, 


and painted for display in public under artful arrangements of light and 
surroundings, have brought him a decidedly sensational and wide-spread 
consideration ; but it will be upon his cabinet studies, so marvellous in 
their reproduction of form, color, and texture, and in their semblance of 
the solid quality of nature, that his reputation will chiefly rest.” 


ART (James McDougall), N. A. | Contemporary 


Both James Hart and his elder brother William were born at 
Kilmarnock, in Scotland, and were brought to this country in 1831 by 
their parents, who settled in Albany, New York, James being then three 
years old. They were apprenticed to a coach builder, and from painting 
the panels of carriages graduated into art. James went to Germany and 
studied for a year under Schirmer in Diisseldorf. Returning to Amer- 
ica in 1852, he applied himself to landscapes, either with or without cat- 
tle, and to these subjects has remained faithful. He was elected an 
Academician in 1859, and has served as Vice-President. Possessed of 
a fluent wit and boundless good nature, he has been cordially loved by 
his colleagues and many pupils. His landscapes are typically American. 
“** He sees with clear eyes and paints with an honest hand.” 


ART (William), N. A. 1822-1894 


William, the elder of the two brothers Hart, was born in 
1822. His parents, emigrating from Kilmarnock, Scotland, settled in 
Albany, New York, in,1831, and in time apprenticed their sons to a local 
carriage builder. But both had spent their spare time in studying art. 
In 1853 William Hart opened a studio in New York, and five years later 
was elected an Academician. From 1870-1873 he was President of the 
American Water Color Society. In his pictures, examples of which are 
to be found in most of the well-known collections of this country, he 
shows a preference for rich and glowing color, exhibited in brilliant sun- 
sets or warm autumn foliage. He died in 1894. 


ENNER (Jean Jacques) Contemporary 

The early career of Henner is a beautiful example of a fam- 

ily’s proud belief in a gifted son and of the help which the government 
in France affords to worthy students. 


He was born at Bernwiller, in Alsace, in 1829. His father, a poor 
carpenter, was the first to appreciate and encourage the boy’s marked 
skill in drawing, and devoted himself to its advancement. When, worn 
out with toil, the old man passed away, he bequeathed the duty as a leg- 
acy to his children, who, in their turn, labored to develop the brother in 
whom they had such pride. Having learned drawing under Gontzwiller, 
at the college of Altkirchen, he began to paint with Gabriel Guérin in 
Strasbourg. Thence, with the help of a pension from the Department 
of the Rhine, he proceeded to Paris,and entered the Ecole des Beaux 
Arts asapupil of Drdlling and Picot. In 1858 he won the Prix de 
Rome, which gave him five years’ study in Italy, after which he visited 
and painted in Dresden and travelled extensively in Holland. 

His ‘‘ Susannah and the Elders,” exhibited in 1864, made a distinct 
mark and was purchased by the government. Since then his career has 
been a record of honors, culminating in 1898 with the dignity of Com- 
mander of the Legion and the Grand Prix, the latter being awarded to 
him a second time at the Universal Exposition of last year. 

‘In his brilliant career Henner has never sacrificed his individuality 
for a moment, and never relaxed his quest of the ideal.” The ideal with 
him is incarnated in the human form, the abstract beauty of which he 
expresses, unconscious of flesh and blood and desires. Whether nude 
or draped, his female figures have enchanting loveliness of a type most 
chaste and spiritual. He places them against luminously dark back- 
grounds, which creep mysteriously forward and envelop the outlines of 
the figure ; the flesh is bathed in atmosphere, and white and firm and 
fragrant as magnolia blossoms; the modelling inexpressibly subtle and 
tender ; the whole, a mingling of spiritualized light and profoundly mys- 
terious shadow. He has been compared to Correggio, but quite unnec- 
essarily, resembling him neither in color nor light nor composition ; 
while as for the sentiment—Correggio, ‘‘ The Faun of the Renaissance,” 
exhibits a pagan joyousness in the beauty of form; Henner, a deep rev- 
erence for its spiritual significance. For example, in the ‘‘ Lola” of this 
collection the maiden is one to kindle a lover’s longing ; meanwhile the 
depths of her own heart are as yet unplumbed ; only the faintest shadow 
of the event has grayed the pellucid surface of her thoughts ; womanhood 
is still a mystery, and the attitude of the artist has been that of the 
father who reverences and shields the virgin purity. 

At the recent Exposition he was represented by six pictures, not the 
least beautiful of which was a portrait of a young lady in a dull red 
cloak. In admiration of his idyllic and biblical subjects, the public is 
apt to forget that in portraiture also he has excelled. 


JSRAELS (Josef) Contemporary 


One may regard the work of Josef Israels both as a survival of the 
traditional school of Dutch geure painting and as a reflection of the influ- 
ence of Millet and Courbet. Holland has always been the home of 
peasant gevre, its painters loyal to their environment, and relying for 
motive upon the human life around them. 

Israels’s departure from tradition was in seeing the pathetic side of 
homely life, and in this becomes apparent the influence of Millet. Cour- 
bet’s realism was a natural consequence of this view of artistic motion. 
Given the peasant as a subject, he should be represented as he is. 
Israels, while influenced by both, has chosen the path most suitable to 
the surroundings of his own country and most congenial to his own tem- 
perament. Avoiding alike the crude acceptance of the ugly and the 
stern and hopeless view of laboring life, he has depicted the peasant as 
he found him in his own country—a creature of narrow and laborious life, 
but sturdily self-reliant, and not dejected with his lot; pursuing a quiet, 
gray,uneventful round of duties, relieved by the simple, strong attachments 
that cluster round the fireside. There is no note of despair. Life is 
still worth living. In his pictures of children he strikes a note more posi- 
tive. He loves them ; the shadow of unremitting labor has not yet set- 
tled on their faces, and he paints them as they should be, as he sees 
they are—happy, healthy, unconcerned. He is not an accomplished 
technician ; his brush performs no wonders ; its method is a patient la- 
boring to express the full thought. Nor is his color distinguished in the 
ordinary sense ; it lacks purity and depth, and yet in its sombre impres- 
siveness it never fails to stir one’s emotion. It is precisely suited to con- 
vey the painter’s meaning. Always his work has a noble seriousness 
and an underlying depth of human tenderness. 

He was born at Gréningen in 1824, and became a pupil of Kruseman 
in Amsterdam, and afterwards of Picot in Paris.” His world-wide repu- 
tation was recognized at the Exposition last year, when the Grand Prix 
was conferred upon him. 


ACOQUE (Charles Emile) 1813-1894 


Last survivor of the Barbizon-Fontainebleau painters, Jacque 
reached a full meed of dignity and wealth. The varied experiences of his 
early life, joined to a well-balanced mind and practical character, had 


enabled him to escape the early harassments which had beset his 
friends. 

Born in 1813, he was by turns a soldier and a map engraver; later 
practising engraving upon wood, and etching. In these mediums his 
first exhibits were made at the Salon, and they received awards in 1851, 
1861, and 1863. His influence had much to do with the revival of 
interest in the art of etching, and examples of his plates are held in high 
esteem by collectors. Meanwhile, from 1845 he had been training himself 
to paint, although it was not until 1861 that his pictures received official 
recognition. His sympathies were with rustic life, and particularly with 
animals. The pig attracted him as a subject; he not only painted the 
barn-door fowls, but bred them and wrote a book about them. Yet it is 
for his representation of sheep that he is most highly esteemed. His 
experience with the burin and needle had made him a free and precise 
draughtsman, while his profound study of animals gave him complete 
mastery over construction and details, as well as the power to represent 
their character. His fondness for them saves him from any possibility 
of triviality ; he selects the essentials and fuses them into a dignified 
unity. While in the strict sense he is not a colorist, he uses color often 
with impressiveness and always with a fine simplicity and breadth. His 
pictures have much of the poetry which characterized the Barbizon school, 
and found ready patrons during his life. The sale of his studio collec- 
tion after his death produced the noteworthy return of over 600,000 francs. 


ACQUET (Gustave Jean) Contemporary 


A pupil of Bouguereau, Jacquet made his early reputation with 
pictures of a historical character. The ‘‘ Appeal to Arms” appeared in 
1867, when he was twenty-one years old; and the following year he 
gained his first medal with ‘‘ Sortie d’Armée,” now in the Museum of Blois. 
During the Franco-Prussian war he served as a soldier, and was in the 
Artists’ Brigade at the battle of Malmaison, and subsequently appears 
in Berne-Bellecour’s picture of the scene. In 1875 he obtained a gold 
medal for his ‘‘ Reverie” and since then has devoted himself almost 
entirely to the rendering of female beauty, both in gezre subjects and in 
portraits. His style is sensitive and refined; saved, however, from 
over-sweetness by his fondness for virile sweeps of line and ampleness of 
masses in the composition. He has an agreeable sense of color and is 
a skilled draughtsman. 


ro (Daniel Ridgeway) - ‘Contemporary 


A native of Philadelphia and a student of the Pennsylvania 
Academy, Knight went to Paris in 1872, and since that date has con- 
tinued to reside in France. He entered the Beaux-Arts and studied 
under Gleyre, later on being received into the studio of Meissonier, the 
only American who ever enjoyed that distinction. He did not, however, 
become an imitator of the great Frenchman. Indeed, from the time he 
made his acquaintance, he ceased to paint the little costume pieces with 
which he had been identified previously, and devoted himself to studies 
of peasant life on a larger scale and set in natural surroundings. He 
early abandoned the artificially lighted studio, and had one constructed 
of glass in the garden of his picturesque villa at Poissy. Many honors 
have been conferred upon him both in this country and abroad, including 
the Cross of the Legion of Honor, and the Cross of the Order of St. 
Michael at Munich, and a bronze medal at the Universal Exposition of 
1g0O. 


| EFEBVRE (Jules Joseph) Contemporary 


Lefebvre, ‘‘probably the most pronounced in academic 
methods” among contemporary French painters, was born at Tournan, 
in the Seine et Marne, in 1836. He became a pupil of Léon Cogniet at 
the Beaux-Arts, and made his début at the Salon with a portrait in 1855, 
since which year he has been a regular contributor. In 1861 he secured 
the Prix de Rome with a ‘‘ Death of Priam,” and five years later a 
Salon medal for his ‘‘ Nymph and Bacchus,” which was purchased for 
the Luxembourg. His long list of honors includes the Grand Prix at 
the Exposition of 1889. He isa member of the Institute, a Commander 
of the Legion, and at this last Exposition was Hors Concours, Nis pic- 
tures figure in the Museum of the Luxembourg and in the great galleries 
of France and foreign countries. 

He is a draughtsman of pronounced ability, representing particularly 
the nude in a pure and elevated style, while his portraits are charac- 
terized by force and directness. 


[ROLLE rari Contemporary 


An enthusiastic student of nature, Lerolle has never been satis- 
fied to confine himself to one form of expression. 
A Parisian by birth and training, he made the traditional commence- 


ment with gexre and historical subjects, which, however, he soon aban- 
doned for open-air study of nature, producing a number of landscapes 
which secured him recognition. Later he turned his attention to prob- 
lems of interior lighting, of which a fine example is ‘‘ At the Organ,” 
presented by Mr, Seney to the Metropolitan Museum, New York. Then 
he was attracted by the peasant life, which he has depicted with true 
sympathy, but in its happier and more hopeful aspects. At the recent 
Exposition he was represented by avery handsome nude subject, ‘*‘ The 
Toilette,” and by three very gracious portraits, for which he was awarded 
the gold medal. 

His skill in landscape and in placing figures in it; his feeling for 
large simplicity, and at the same time for indefinable delicacy ; and his 
sincere and healthy sentiment are well represented in the picture of 
‘** Returning Home” in this collection. 


{ Feels (Louis Auguste Georges) Deceased 


Loustaunau was born in Paris, and became a pupil successively 
of Géréme, Felix Barrias, and Vibert. He was a Chevalier of the Legion 
of Honor, and won medals at the Salon in 1887 and 1889, and in the 
latter year a silver medal at the Universal Exposition. 


ACY (William S.) Contemporary 


William S. Macy was born at New Bedford, Massachusetts, 
in 1853. He received his first instruction in art at the schools of the 
National Academy and from J. O. Eaton. In 1876 he went to Munich 
and studied four years under Velton. At the end of this time he returned 
to New York and devoted himself to landscape painting. 


Wie. (Raimundo de) Contemporary 


For more than a hundred years the brush has been handed 

down from father to son in the Madrazo family. 
José de Madrazo had two sons, Federico and Luis; Federico, in his 
turn, also having two sons, Raimundo and Ricardo. The former, the 


subject of this sketch, was born at Rome in 1841, and baptized at St. 
Peter’s. He received instruction from his father, who was at the head 
of the Madrid Academy, and after his death in 1859 moved to Paris, 
where he entered the Beaux-Arts under Léon Cogniet, studying later 
with Winterhalter, the portrait-painter. Until 1878 he had not exhibited 
in the Salon, but on this occasion received a first-class medal and the 
red ribbon of the Legion. 

The intimate friend of Rico, Zamacois, and Fortuny, to the last of 
whom he was brother-in-law, Madrazo has maintained the characteristics 
of that brilliant group, uniting a Spanish charm of color with Parisian 
technique. Of late years he has been chiefly employed in portraiture, 
and no painter is more successful in representing the elegance of a lady 
of fashion or more skilful in the rendering of stuffs and textures. 


1s ieaieaii (V.) Contemporary 


A native of Italy and a resident in Paris, Marchetti is one of 
the leaders in the modern school of Italian picturesque realism. He has 
been awarded frequent medals in the European exhibitions, and is a 
Chevalier of the Crown of Italy. 


4 a (Willem) Contemporary 


Since the death of Jakob, the eldest of the three Maris broth- 
ers, Willem, the youngest, born 1839, is the dean of Dutch landscapists. 
The other brother, Matthew, resides in London. Unlike his brothers, 
who were Parisian trained, Willem seems to have been self-taught ; and 
while Jakob had his studio in Brussels, Willem has remained faithful to 
The Hague. His landscapes and animal pictures have extended his fame 
far beyond the limits of the little country he paints with such loving 
truth. ‘‘ There is no artist who can depict so well the delicious atmos- 
phere that envelopes Holland on a summer day.” His fondness for 
these effects of tender haze through which sunlight filters has earned 
for him the title of ‘‘ The Silvery Maris.” His favorite subject is a pas- 
ture, with the light resting on the backs of the cattle standing dreamily 
near ponds or ditches. At the recent Exposition he was Hors Concours. 


c CORD (George H.), A.N.A. Contemporary 


A sympathetic student of nature, George H. McCord is mostly 
identified with landscape subjects drawn from New York State and New 
England, although he has gathered material also in the South and in 
parts of England. He was born at New York in 1848,and became a 
pupil of Moses Morse. His first appearance in the exhibitions of the 
National Academy was made in 1868, and he was elected an Associate in 
1880. He is a member of the American Water Color Society, and is 
represented in many galleries in the country. 


ONET (Claude) Contemporary 


Among the more than five hundred contemporary names in 
the French dictionary of reference, ‘‘ Our Painters and Sculptors,” that 
of Monet does not appear! The omission is suggestive. 

Whether the compilers ignored his merits, or he their requests for 
information, is mere conjecture. But either view is warranted by facts. 
Between his art and most of that which obtains currency in Paris, there 
is the difference that exists between nature’s free, pure light and air and 
the artificial lighting and stale tobacco-laden atmosphere of the studio. 

Perhaps at one time Monet desired the endorsement of his colleagues, 
for in 1864-1865 he occupied a studio in Paris, and in 1865 and two 
years later sent pictures to the Salon which were accepted and denounced. 
In 1868 and 1869 his pictures were refused. He waited for ten years, and 
then sent ‘‘ Les Glacons sur la Seine,” afterwards bought by Mr. H. O. 
Havemeyer. It was declined. ‘‘ Pretty hard! but what is one to do?” 
He answered his own question by pursuing his work henceforth self- 
centred. 

The story of his life is little else but the story of his growth in art. 
He was born in Paris, but passed his childhood by the sea at Havre, 
filled with the longing to be an artist. His parents, however, opposed 
it; and, when he was drawn for the army, hailed with satisfaction the fact 
that his regiment was drafted to Algiers for some years. Change of 
scene would distract his thoughts. But he was stricken with fever; in- 
valided home ; bought out of the army; and, finally, at the age of twenty- 
two, permitted to follow his artistic bent. Entering the studio of Gleyre, 
he immediately left it. The master had objected to his drawing the 
model as he saw it. ‘‘ You are copying its defects, instead of correcting 
them from your knowledge of the best examples.” ‘‘ Then, why not 
abandon the model and draw from casts ?”’ was his indignarit rejoinder; 


and forthwith he shook off forever the dust of studio tradition, inducing 
his fellow-pupils, Sisley and Renoir, to emancipate themselves also. In 
the recent Universal Exposition the three friends still shared companion- 
ship, along with Pissarro, their works being hung together in a separate 
gallery; not, however, as part of the exhibit of contemporary painters, 
but as included in the hundred years’ retrospect of French art. It was, 
at least, an admission that they constitute an epoch in themselves, just 
as did the Barbizon-Fontainebleau group, carrying the art of landscape 
still a step farther by the aim after new qualities and by the application 
of new methods, always face to face with nature. 

In Monet’s intolerance of tradition there is nothing lawless. It is the 
assertion of genius refusing to be shackled by inadequate laws, intuitively 
conscious that it has a mission not previously measured and defined— 
something new to do, and for the doing of which it must rely upon itself 
to discover the laws necessary. The culture and discipline which other 
men derive from tradition he obtained from the study of nature direct. 
He made her his mistress, and never was man more persistently and 
devotedly her student. This is the point which those who do not under- 
stand him overlook. They know him for an ‘‘ impressionist”? and con- 
fuse his art with the vagaries of inferior imitators. The latter seek 
instantaneousness and spontaneity by a tour de force, reached rapidly 
while the idea is hot. The stroke may mean much or nothing. The 
study they have given to the subject is like their rendering of it—super- 
ficial. With Monet, however, the study is exhaustively precise, each 
stroke a matter of reflection, and the labor expended long and scrutin- 
izing. 

His minute analysis of nature has made him dissatisfied to record a 
general impression of the scene, however beautiful. He seeks an indi- 
vidual phase of beauty, a special effect, which experience has taught him 
will last on any one day only some thirty minutes. It is this morceau of 
nature, with its own separate harmony of light and movement, that he 
loves to record. He casts upon the canvas his first impression as compre- 
hensively exact as possible—precise in characterization, instinct with 
nervous feeling, and expressive of the sentiment aroused. Day after day, 
at the same hour, not infrequently for as many as sixty sittings, he returns 
to the study, endeavoring to master with increasing subtlety the fugitive 
modelling, and to weave into intricate harmony the transitory aspect of 
the light and colors, juxtaposing or superlaying the separate virgin pig- 
ments, and reaching gradually solidity and suppleness of impasto. So 
honest are his methods, that his pictures, instead of dulling or blackening 
by age, mature like ripening fruit as the under flesh mellows beneath the 
transparent skin. 

Monet has given a new direction to landscape painting, enabling it 


to approximate to music in subtlety of expression. He is as poetical as 
Corot, with this difference—that the latter compels nature to interpret 
his moods, while Monet coaxes her to reveal her own. 


PHY (J. Francis), N. A. Contemporary 


Self-taught, J. Francis Murphy has travelled and seen much, 
but kept himself free from the direct influence of other painters. He 
is one of the most interesting of living American landscapists. There 
is no mistaking the nationality of his landscapes ; they are familiar bits of 
American scenery, truthful in the characteristics of color and atmosphere, 
and full of a quiet and happy sentiment which reflects his own tempera- 
ment. 

He was born at Oswego, New York, in 1853. The early exhibits 
which he made at the exhibition of the National Academy, as far back as 
1876, revealed a very individual style, which subsequent study has matured. 
In 1885 he won the second Hallgarten prize, and two years later the 
Webb prize for landscape, on the occasion of its being first offered. He 
is a Member of the Society of American Artists and of the American 
Water Color Society, and an Academician of the National Academy. 


Site (Alberto) Contemporary 


Among living painters Pasini is unrivalled in his delineation 
of Oriental scenes. He is a native of Busseto, near Parma, and en- 
joyed the instruction of three great masters. ‘‘ From Ciceri he acquired 
his firm draughtsmanship, from Isabey his color and bold and fluent exe- 
cution of the brush, and from Rousseau the deep feeling and sentiment 
of landscape.” For he is a master of landscape, and introduces into 
them such animated groups and figures that they become, as well, charm- 
ing examples of gezre. It was his good fortune to visit the Orient early 
in his artistic career, and during several years’ residence in Turkey, Ara- 
bia, and Persia he accumulated a vast store of impressions, and thor- 
oughly absorbed the color, atmosphere, and animation of the East. His 
pictures are convincingly real, painted with fine breadth and boldness, 
yet delightfully rich in characterization. 

He is an honorary Professor of the Academies of Parma and Turin, 
a medallist at the great exhibitions, and since 1878 an Officer of the Legion 
of Honor. 


“=p ISSARRO (Camille) | Contemporary 


Pissarro is the dean of the Impressionist guild, having been 
born at St. Thomas, in the Danish Antilles, as long ago as July 10, 1830— 
three years, in fact, before Rousseau and his friends settled at Barbizon. 
At the age of eleven he was sent over to Paris for his schooling, and 
spent six years in the Pension Savary at Passy ; returning thence to St. 
Thomas, where he obtained employment in a commercial house. He 
stuck to it for five years ; all the while, however, studying art in his spare 
time, until in 1852 he resigned his position and started with Fritz Melby, 
a Danish painter, for Caracas, in Venezuela. Here he remained three 
years, apparently meeting with very little substantial encouragement, for 
he was obliged to return to business life at St. Thomas. However, by 
the end of the same year, 1855, he was able to pay a second visit to 
France, arriving in time to see the last few days of the Universal Expo- 
sition. ‘‘ Since then,” to quote his own words, ‘‘I am settled in France, 
and as for the rest of my history as a painter, it is bound up with the 
Impressionist group.” 

By the courtesy of Mr. Durand-Ruel, it is permitted to make the fol- 
lowing quotation from an autograph letter of Pissarro’s, dated Novem- 
ber 6, 1886. He prefaces the ‘‘ theory” of his art by this characteristic- 
ally honest avowal: ‘‘I wish it to be thoroughly understood that it is M. 
Seurat, an artist of great worth, who has been the first to conceive the 
idea of applying the scientific theory after making a profound study of 
it. I have only followed, like my confréres, the example set by Seurat.” 


‘* THEORY. 


**To discover the modern synthesis by methods based upon science, 
methods based upon the theory of colors, discovered by M. Chevreul, in 
conformity with the experiments of Maxwell and the measurements of N. 
O. Rood.* To substitute the optical mingling for the mingling of pig- 
ments ; in other words, the decomposition of all the colors into their 
constituent elements; because the optical mingling excites much more 
intense luminosity than the mingling of pigments. 

‘*As for the execution, we regard it as nothing ; it is, at any rate, 
only unimportant, art having nothing to do withit. According to us, 
the sole originality consists in the character of the drawing and the 
vision individual to each artist.” 


Pissarro’s reputation is founded not only upon landscapes, but upon 
his treatment of the human figure. He knows how to place it in the at- 
mosphere, to bathe it with light, and to breathe into it life. Heis a 


* Professor Rood of Columbia University. 


master, also, in grouping figures and in producing the suggestion of a 
crowd—as, for example, in his ‘‘ Place St. Lazare” and his ‘‘ Crystal 
Palace, London.” But perhaps one enjoys most his landscapes, inviting 
to reverie and restfulness—such a one as ‘‘ The Orchard” in this collec- 
tion, with its high vault of sky; rich, fragrant, new-dug soil; delicately 
sculptured trees, and sober, sturdy cottages; its mingling of vivid and 
quiet color, and the complete unity of calm impression which it conveys. 
It is the work of an artist—emotional, conscientious, and thoroughly 
erudite. 


RE (Henry W.) Contemporary 


Like so many good landscape painters, Henry W. Ranger 
is self-taught. He has been an earnest student of nature, and also of 
the masters—at one time attracted by those of Holland, later by the Bar- 
bizon-Fontainebleau group. Thus his canvases from time to time have 
reflected these various influences, while he has been gradually evolving 
aims and methods more thoroughly individual to himself. We recognize 
him at his best as a painter of decorative landscape, amply spaced and © 
rich in color, representing the broad truths of nature rather than effects 
of subtlety. 

He has held aloof from the various art organizations, with the ex- 
ception of the American Water Color Society. At the recent Exposition 
in Paris he was represented by two pictures—‘‘ Becky Coles Hill” and 
‘* Brooklyn Bridge ’’—which secured a bronze medal. He is a native of 
New York City, where he was born in 1858. 


ies eat (William T.) Contemporary 


As a painter of marines, William T. Richards enjoys a 
wide popularity. He has studied much of our coast, especially along 
the rocks of Newport, Rhode Island, where he has a summer studio, and 
has also painted the beautiful headlands of Cornwall, England. 

He was born at Philadelphia in 1833, and began his art studies at the 
age of twenty. In 1855 he made a trip to Europe, and on his return 
settled in his native city, which he has continued to make his headquar- 
ters. He is a member of the American Water Color Society and an 
honorary member of the National Academy. The honors which he has 
received include a medal at the Centennial Exhibition, the Temple Gold 


Medal at the Pennsylvania Academy in 1885, and a bronze medal at the 
Universal Exposition in Paris of 1889. One of his pictures is owned by 
the Museum of Haarlem in Holland. 

Both in oils and water colors he is a painter of distinction, with a 
thorough knowledge of the sea’s form and movement, and a sensibility 
for delicate tones of color. 


ICO (Martin) Contemporary 
To Rico, it has been well said, nature seems to be a sort of 


dreamland, bathed in sunshine and fanned with gentle air. He shares 
the brilliant methods of the band of Spanish-French painters, but with 
more serenity, and yet no loss of piquant spirit upon occasion. 

A native of Madrid, he received his first lessons in drawing from a 
cavalry captain, and then passed to the Madrid Academy, gaining a liv- 
ing in the intervals of study by drawing, and engraving on wood. During 
the summers, he would wander off on foot into the country, consorting 
with gypsies and herdsmen ; living a free, happy existence, and laying by 
a store of memories. He won the Spanish Prix de Rome, never before 
awarded for excellence in landscape, and chose Paris for his place of 
study in preference to Rome. Here he was kindly received by his 
countryman Zamacois, who introduced him to Daubigny and Meissonier. 
Later he became the intimate friend of Fortuny, with whom he spent 
much time in Italy. In 1878 he was awarded the Cross of the Legion 
of Honor. 

The brilliance and animation both of his water colors and oils have 
commanded a wide popularity, and he has been able to indulge his boy- 
hood love of wandering, without losing in prosperity the simplicity of 
his habits. Itis often remarked that with his guitar and a bundle of 
cigarettes he could make a tour of the world. 


OUZEE (M.) Contemporary 


Born in Normandy, Rouzée studied first at the Rouen 
Academy, afterwards continuing his studies in Paris. Much of his 
recent life has been spent in this country, whence he has paid peri- 
odical visits to France, keeping up a studio at Dieppe, where many 
of his studies of fisher-folk have been made ; amongst others, the picture 
in this collection. 


ISLEY (Alfred) 1840-1899 


Truth will out. The reviled of yesterday become the ac- 
claimed of to-day. It was so with ‘‘ the men of 1830; ” it is so with that 
group of painters who really represent ‘‘Impressionism.” The title is a 
poor one, for no painter can escape being an impressionist. However 
commonplace his vision, he can paint only the impression of the object 
which his eyes have registered in the brain. But understood in its nar- 
rower sense of the man who insists upon viewing nature through his own 
eyes, ignoring the traditions of the studio and the impressions which she 
has produced upon other minds, communing with her face to face contin- 
ually, and revelling particularly in the luminosity of color, the subtle ex- 
pressions of atmosphere, and the quick life manifested in sky, water, 
ground, and vegetation, this name ‘‘ Impressionism” becomes the 
watchword of a little group of men whose influence has been felt, if 
unacknowledged, by every painter who works in what we recognize as 
the modern spirit. 

Alfred Sisley, the fellow-student at Gleyre’s studio of Renoir, until 
the one-day pupil, Monet, induced them both to leave, is one of the 
leaders in this group. He was born in Paris, October 30, 1840, of Eng- 
lish parents. After he had set himself to learn direct from nature, he 
worked at Marlotte, and then spent some time at Hampton Court, near 
London, and in London itself. Since 1879 he made his headquarters 
at Morét. 

The scenes he has chosen are the outskirts of the forest of Fon- 
tainebleau, the small towns dotted along the banks of the Seine and 
Loing, the country around St. Mammés, and especially Morét, ‘‘ the 
damp and leafy corner where his talent was at ease, and the people and 
things were familiar to him.” 

His mind was exactingly analytical; no broad impression satisfied 
him ; he noted the niceties of difference in the action of light upon dif- 
ferent objects ; his pictures embrace most complex effects and present a 
labyrinth of means. Yet the sum total which they give us is simple and 
unified. The synthesis is complete. It is nature’s own manner, infinite 
in diversity, yet marshalling its varieties in grandly simple unity. 

A very beautiful example is his picture in this collection, ‘‘On the 
Banks of the Loing: Morning.” The scene is pervaded with sunlight, 
cool with morning mist, and tenderly diffused ; the trees and vegetation 
are still fresh with dew, the white houses and red roofs not yet sharply 
defined ; the sky is pure; the river pellucid, and sprightly with reflected 
light. If one has ever been in such a scene at such an hour, it recalls 
the most delightful memories ; if one has not, it creates a longing for 
the experience. We accept the picture as a glimpse of purity and 


gladsome beauty in a work-a-day world—a thing it would be good to 
live with. There is no restoration to the spirit like a beautiful spot in 
nature, and next to it is the picture which reanimates the memory of its 
beauty. 

Sisley only twice exhibited at the Salon, but to the exhibition in the 
Champs de Mars he was a regular contributor from 1891 until his death 
at Morét, on the 30th of January, 1899. The number of his admirers is 
steadily increasing, as people grow to understand his purpose and rec- 
ognize in his pictures the spirit of refined and graceful poetry. 


MITH (Henry P.) Contemporary 


Born in Waterford, Connecticut, in 1854, Henry P. Smith 
came to New York as a boy, and at an early age began to paint. His 
first exhibit was made in the American Water Color Society, of which 
he isa member. Entirely self-taught, he has sought his subjects in ma- 
tines and landscapes, and more recently in Venice. His studios are in 
New York, and New London, Connecticut. 


SORBI (Raffael) Contemporary 


This Florentine painter of genre and historical subjects, 
whose first medal was gained in 1859, has been called the Italian Meis- 
sonier. His works have won frequent honors at the Salon and other 
European exhibitions. He is an Officer of the Legion of Honor, was 
awarded the Grand Prix at the Universal Exhibition of 1878, and is a 
holder of several foreign orders, being also honorary Professor at the 
Academies of Parma and Turin. 


i AMBURINI (Antonio) Contemporary 


Tamburini, a native of Florence, studied under Ciceri, and later 
with Bonnat at Paris. He is a holder of various medals, gained in 
Rome and Florence, and shows a partiality for genre subjects of monks, 
characterized by good-humored satire. 


f ASSAERT (Octave) 1800-1874 


’ 


Very pitiable is the story of ‘‘Pére Octave,” as they called him 
in the guartier du Maine, the part of Paris which he preferred. It 
is the tragedy of the conflict between genius and frailty ; the artist ele- 
vated, the man depraved. He was a drunkard, a loose and disreputable 
liver, and reached a suicide’s end by asphyxiation. Yet in his pictures 
there is not a trace of his degradation, only the shadow of his better 
manhood—its regret. His subjects are sad; the fact was brought up 
against him as an accusation by a world that loves better to be amused. 
Very few bought his pictures, though three well-known connoisseurs, 
MM. Cuocquet, Bruyas, and Alexandre Dumas //s, remained his 
staunch patrons. 

‘* The Painter of Misery ” chooses usually some theme of human woe— 
heroic, as in his ‘‘ Heaven and Hell;” or lowly, as in the picture in this 
collection, ‘‘ The Abandoned.” But he never descends to the banality of 
a mere story-telling picture. It is always as a painter, with sole reliance 
on the resources of his own art, that he sets forth the story and stirs the 
emotion. He is a powerful colorist, using color with confidence and 
expressiveness; and skilful, particularly, in the adjustments of his light and 
shade. Through color and chiaroscuro he excites one’s realization of 
passion or of pathos. Further, he is a master in the painting of flesh, 
white and glistening in clear light, or tenderly pearly, and always ex- 
hibits the possession of a sensibility essentially delicate and of a sincerity 
unquestionable. 

He was a pupil of Pierre Girard, Guillon Lethiére, and the Ecole 
des Beaux Arts. He gained a second-class medal in 1838, and one of 
the first class in 1849. Many of his important works are in the Mont- 
pellier Museum. 


: ER MEULEN (F. P.) Contemporary 


Born at Bodegraven, Meulen became a pupil of Van de Sande 
Bakhuysen, the elder. He works at The Hague, devoting himself to 
landscape, often with flocks and figures introduced. They are painted 
‘‘loosely,” with charming suggestion of atmosphere and light, and at 
times have a fresh and tender tone more than a little reminiscent of 
Mauve. His ‘‘ Guardian of the Flock” was one of the most agreeable 
pictures in the Dutch gallery at the recent Universal Exposition. 


Tuavutow (Fritz) Contemporary 


At the recent Exposition, the Gramd Prix in the Norwegian 
section was awarded to Fritz Thaulow. This section was one of the 
most interesting in the whole range of galleries. ‘The pictures were un-' 
mistakably inspired by love of country, racy of the soil, light, color, at- 
mosphere, and spiritof Norway. The leading characteristics were a frank 
individuality, freshness of outlook, sincere and healthy naturalness, and 
aloveof bright and happycolor. In these, refined by Parisian influence, 
Thaulow is supreme. He has not only the originality, but the saneness 
of the North. With all his superb command of technique there is no 
firework-like display of it. In his effects of water, rippling, sluggish, 
swirling, and of moist atmosphere, he displays a cleverness with which 
few can compete, and yet his pictures are always sober and controlled. 
His art is too sincere to let mere technical accomplishment allure him 
into ostentation. The little picture in this collection, ‘‘A Village Street,” 
is characteristically modest ; its extreme cleverness and pensive senti- 
ment insinuate themselves upon our notice only after study. 

Born in Christiania, Norway, he became a pupil at the Stockholm 
Academy, afterwards proceeding to Munich. Those were the days when 
the younger painters were rebelling against the conventions of the latter 
Academy, and Thaulow broke away and went to Paris, where, in 1892, 
he was elected to membership in the newly organized Société des Beaux 
Arts. 


Loetti (Virgilio) Contemporary 


This figure painter, with a preference for beautiful girl forms 
treated in a decorative manner, was born at Rome in 1849, and studied in 
Paris under Gér6me and Bouguereau. He came to America in 1870, 
and has maintained ever since a studio in New York, exhibiting at the 
National Academy for the first time in 1881. 


y AN BOSKERCK (Robert W.), A. N. A. 
Contemporary 


A native of New Jersey, where he was born in 1855, Robert 
W. Van Boskerck became a pupil of R. Swain Gifford and Alexander 
Wyant, first exhibiting at the National Academy in 1880. He is a 
member of the Society of American Artists and an Associate of the Na- 
tional Academy. 


\ EYRASSAT (Jules Jacques) Contemporary 


Born at Paris. Medals, 1866, 1869, 1872. Cross of the Legion 
of Honor, 1877. Hors Concours. 


l IBERT (Jehan Georges) Contemporary 


Born at Paris in 1840, Vibert studied at the Beaux-Arts under 
Felix Barrias, and made his first appearance in the Salon of 1863. The 
following year he won a medal. His compositions at this time were in 
the grand style, but, finding them left upon his hands, he followed the 
bent of his temperament and turned to satirical and humorous genre, 
particularly to good-humored satires upon the priesthood. In these his 
success was immediate and pronounced ; higher medals came to him in 
1867 and 1868, and in 1870 the red ribbon. At the outbreak of the war 
he joined the army, and was wounded at the battle of Malmaison. In 
water color, as in oils, he is a brilliant and spirited technician, and was 
one of the founders in 1867 of the Society of French Aquarellists. Vibert 
is a wit, and wields the pen with a practised hand. 


\ OLLON (Antoine) 1833-1900 


The death of Antoine Vollon, following within a month the re- 
ceipt of the highest honor—the Grand Prix—at the recent Universal 
Exposition, robbed France of one of its most brilliant painters. 

In 1871 an exhibition of his work caused a sensation at the Royal 
Academy in London; it was so completely the opposite of what was 
then admired in England, and yet it compelled admiration. Instead of 
choosing a sentimental subject of human life, he extracted sentiment from 
the commonest things of still life, with a sumptuous use of color and a 
virility of method, by the side of which the mechanical manipulation of 
the academically directed brush seemed tafhe and nerveless. 

Even in France it had been some time before his genius had been 
recognized. He was born at Lyons in 1833, and became a pupil of its 
Academy, afterwards studying with Ribot in Paris. At first he was re- 
jected from the Salon, and did not receive his first medal until 1865. In 
1868 and the following year came others, and one of the first class in 
1870, in which year also he was elected a Chevalier of the Legion of 
Honor. Eight years later he was awarded the Officer’s Cross as well as 


a gold medal, on the occasion of the Universal Exposition. In 1897 he 
was chosen a member of the Institute, and at the Exposition of 1goo, as 
already mentioned, received the Grand Prix. — 

His reputation was established by his pictures of still life; but in 
1876 he astonished everybody by sending to the Salon a single life-sized 
figure of a fisher-girl at Dieppe, and in the following year repeated the 
surprise with a landscape. Many others have appeared since which serve 
to prove his versatility and which possess a vigorous directness and much 
charm of expression ; yet it is as the greatest painter of still life in the 
last century that he is most justly famous. The examples shown 1 by him 
at the recent Exposition were, without exaggeration, among the brightest 
gems of the French section. He has been styled ‘‘ the painters’ painter,” 
so amazing was his use of the brush to his fellow artists, who are best 
able to appreciate the difficulties of which his mastery seemed to take no 
account. In the control which he exercised over the stroke, and the ex- 
pression which he put into it; the certainty, fulness, and subtlety of 
meaning ; he approached nearest of all Caucasian painters to the supple- 
ness and vigor of the Japanese in their handling of the brush. Further, 
he was so essentially a painter. He spoke and played with color. Not 
only was it rich, full-blooded, generous, and stimulating, but suggestive 
of mystery ; so that by the side, of his pictures the average representations 
of still life seem barren and prosaic. 

As all true colorists, Vollon composed like a musician, and added to 
that natural genius the virtuosity of the executant. 


Y, ON UHDE (Fritz) Contemporary 


Fritz von Uhde was the first of living painters to represent Biblical 
themes in the guise of modern costumes. 

He was born at Wolkenburg, in Saxony, 1848. At the age of ni 
teen he enlisted in the Saxon horse guards, remaining in the corps 
years, and serving through the Franco-Prussian war, at the end of whic 
he was gazetted captain. In 1877 he determined to leave the army and 
study painting, and became a pupil of Munkacsy, whose influence is 
traceable in his earlier work. By his master’s advice he went to Paris, 
and, as his own personality began to assert itself, gradually adopted a 
style sober, staid, and severe. This in time gave way to a study of light, 
the skilful rendering of which is the characteristic of his latest work. 
With this final development arrived a change of subject, and he became 
the painter of religious ideas : such themes as ‘‘ The Walk to Bethlehem,” 
‘**Good Friday Morning,” the ‘‘ Nativity,” and ‘‘ Suffer the little ones.” 


In all of these, and many others, there is for motive some separate human 
emotion, the Biblical title being little more than a literary embroidery to 
the painter’s expression. Thus in the ‘‘ Good Friday Morning” of this 
collection, there is nothing, except by indirect suggestion, of the Bible 
_ story. It is a modern picture of death and mourning. Of another pic- 
ture, ‘‘ Easter Morning,” he himself says: ‘‘I certainly thought of the 
Easter Morning in the Bible ; but the picture is simply of three women 
who visited a grave in the early morning. I would not wish to force 
anybody to see only the Biblical story in this picture. It may perhaps 
be easier to understand the picture as one which represents every-day life. 
For the artistic quality of the picture, it is of little importance whether 
these are the three Marys or three modern women—they have been toa 
grave.” 

The first picture in which he showed his fondness for light, ‘‘ The 
Seamstresses,” is owned by the St. Louis Museum. At the recent Ex- 
position in Paris he was awarded a gold medal. 


ES 
W ITT (J. H.) Contemporary 


A native of Indiana, where he was born in 1840, J. H. Witt studied 
in Cincinnati, and first exhibited at the National Academy in 1868. He 
was elected an Associate in 1885. 


Woop (Thomas Waterman), N. A. Contemporary 


Born in Montpelier, Vermont, in 1823, Mr. Wood was thirty-four 
ears old when he began his studies with Chester Harding in Boston. 
e following year he started for Paris, spending two years in study 
in travel through Italy and Switzerland. After his return home 
e set out upon a tour of portrait painting, staying for a time in 
Louisville, Kentucky; later in Nashville, Tennessee ; finally settling in 
New York in 1867, and making his first appearance at the National 
Academy with paintings of negro and military life. Three of the latter, 
“The Contraband,” ‘‘The Recruit,” and ‘‘ The Veteran,” are now in 
the Metropolitan Museum, New York. He has produced a long series 
of genre subjects, the types and incidents of which are drawn from Ameri- 
can life, characteristically faithful, and often with a touch of humor, and 
has enjoyed marked distinction as a portraitist. 

He was elected an Academician in 1871, was Vice-President of the 


Ta 


Academy for eight years,and in 1891 succeeded Mr. Huntingdon as 
President—a position which he resigned last year. One of the early 
members of the American Water Color Society, he was its President from 
1878 to 1887. 


len (Félix) Contemporary 


Ziem made his début at the Salon as a landscape painter in 

1849. Two years later he received his first medal for a picture of Dutch 

scenery, and in 1857 was admitted to the Legion for his views of the 

Golden Horn at Constantinople, and of St. Mark’s, Venice. These last 

subjects revealed the particular bias of his temperament, and have con- 
tinued to be the ones on which his reputation is securely founded. 

He was born in 1821, at Beaune, a little town twenty-three miles from 
Dijon, from the art schoo! of which he subsequently graduated, and went 
to Paris to complete his studies. But it was in the peripatetic school of 
travel that he really learned his art. He roamed far and wide through 
southern France, then spent three years in Holland, and followed on with 
wanderings and study in Italy and the Orient. He had now discovered 
the congenial stimulus to his ideals. His ‘‘Sunrise at Stamboul” was 
hailed by Gautier as the most beautiful picture of the modern school ; 
but it is as the painter of Venice that he is most widely appreciated. 
Unlike Rico, who represents the beautiful city in the broad light of high 
noon, Ziem prefers the pearly effects of early morning, the flaming glory 
of sunset, or the throbbing tenderness of summer nights. His isa ro- 
mantic spirit, finding expression in a profusion or subtlety of color, 


NOTICE 


feo CALE WILL BE: HELD 


IN THE 


GRAND BALL ROOM 


OF THE 


WALDORF-ASTORIA 


On Friday Evening, February Ist, 1901 


BEGINNING AT 8.30 O’CLOCK 


q ; 
x : 
y; i 
} 
x 
: 
. * { 


CONDITIONS OF SALE 


_ 1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be immedi- 
ately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and, therefore, in his judgment, 
likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to pay 
down a cash deposit, or the whole of the Purchase-money, if reguired, in 
default of which the Lot or Lots so purchased to be immediately put 
up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and Risk 
upon the conclusion of the Sale, and the remainder of the Purchase- 
money to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the Lots be lost, 
stolen, damaged, or destroyed, but they will be left at the sole risk of 
the Purchaser. 


5. While the undersigned will not hold themselves responsible for 
the correctness of the description, genuineness, or authenticily of, or any 
fault or defect in, any Lot, and make no Warranty whatever, they 
will, upon receiving previous to date of Sale trustworthy expert opinion 
in writing that any Painting or other Work of Art is not what it is 
represented to be, use every effort on thetr part to furnish proof to the 
contrary, failing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being liable to the 
Owner or Owners thereof, for damage or injury occasioned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of the Purchases, no Lot can, on any account, be removed during 
the Sale. 


7. Upon failure to comply with the above conditions, the money de- 
posited in part payment shall be forfeited ; all Lots uncleared within one 
day from conclusion of Sale shall be re-sold by public or private sale, 
without further notice, and the deficiency (if any) attending such re- 
sale shall be made good by the defaulter at this Sale, together with all 
charges attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, with- 
out such re-sale, if he thinks fit. 


THE AMERICAN ART ASSOCIATION, 
MANAGERS. 
THOMAS E. KIRBY, Auctioneer. 


vad Al oe 


ae ’ 


WALTER BLACKMAN 


[00 I—FELICE 


Against a gray background the face of an Italian peasant girl 
is seen in profile, its warm coloring enriched by the dark hair, 
which is partly covered with a yellow kerchief. Her loose white 
bodice is open at the breast, and across her shoulders lies a blue 


fichu of soft silk, embroidered with roses and darker blue designs. 


Signed at the upper right. 


Height, 15%4 inches ; width, r2 inches. 


M. ROUZEE 


7/0 2—DIEPPE FISHER-GIRLS 


Over the warm pink sand, still wet from the receding tide, 
which has left behind little pools of blue water, a bevy of sturdy 


fisher-girls are returning with their shrimping nets and creels. 


Signed at the right; dated, 1890. 


Height, 15% inches; length, 1924 inches. 


HIS FIRST SMOKE 


BY 
THOMAS WATERMAN WOOD 


T. W. WOOD, N.A. 


/} —HIS FIRST SMOKE 


A pickaninny sits upon the ground, with his arm round a St. 
Bernard, In his right hand he poises a pipe, while he blows 
from his lips a puff of smoke in most approved fashion and—so 


far—with apparent satisfaction. 


Signed at the left ; dated, 18qr. 


Height, 17% inches; length, 23% inches. 


SEYMOUR J. GUY, N. A. 


iw / 4--COUNTRY COURTESY 


It is a little episode in the Adirondacks—a boy helping a small 
girl down a steep path which winds between banks of fern, under 


the shade of beech trees, sprinkled with sunshine. 


Signed at the left. 
Height, 21% inches; width, 14% inches, 


; 


mapeieeaemenecnidiancas 


A. T. BRICHER, A.N. A. 


7 ge 5—WATCHING THE YACHTS 


A lady in pink costume sits on a low rock, another in white 
reclining upon the sand by her side. 


The sea stretches beyond © 
them with a flutter of white sails. 


Signed at the left. 


Height, 12 inches ; length, 20 inches. 


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WwW. S. MACY 


[35> 6—A FROSTY AFTERNOON 


The scene is a stretch of marshy land with little pools of 
water shining among the snow-covered patches of grass. Around 
it is a belt of trees, the farther ones dimly seen through hazy at- 


mosphere. 


Signed at the right. 


Height, 21% inches ; width, 1524 inches. 


WILLIAM HART, N. A. 


[40 7—CATTLE AND LANDSCAPE 


A small picture of cows standing in water, with a vista of pas- 
ture beyond, stretching between large elms, to the horizon. It 
exhibits a well controlled range of rich color, and is suggestive of 


wholesome spaciousness and tranquillity. 


Signed at the left. 


Height, 10 inches ; width, 734 inches. 


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V. MARCHETTI 


2 Se 8 —COMRADES 


A brilliant little genre subject; whether in the crisp render- 
ing of the fragment of architecture overhung with vine, the 
table spread with white cloth, the bits of colored pottery and 
fruit, or the gay costumes of the soldiers of fortune pledging each 
other’s health. It is very characteristic of the modern Italian 
school of picturesque realism—a dainty mosaic of bright and lu- 


minous color. 


Signed at the right; dated, 1875. 


Height, 10 inches; width, 8 inches. 


A. TAMBURINI 


£00 9—OLD FRIENDS 


A white-habited monk, drawing the cork from a bottle, shows 
in his face a mingled expression of exertion and anticipated 


pleasure. 


Signed at the upper right. 
Height, 9 inches; width, 7 inches. 


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-JEHAN GEORGES VIBERT 


1200 L0—THE CARDINAL 


A kindly study of a great dignitary ; allowing him a modicum 


of cleverness, no little human worthiness, and a fund of geniality. 


Signed at the right. . 
Height, 8% inches; width, 6 inches. 


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PAUL JEAN CLAYS 


$2 I1—DUTCH BOATS 


There is a fluster of white clouds above a reddish horizon, and 
fishing-boats with slackened sails rock on the tumble of green 
tawny water. It is a stretch of sea off Scheveningen, painted 
‘with Clays’s well-known delicacy of color and feeling for atmos- 


phere and movement. 


Signed at the right. 


Height, 12 inches; width, 9 inches. 


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— posers ital cies 


J. H. WITT 


| WS 12—THE FIRST. LESSON 


A study of white draperies in mild light. A mother is direct- 
ing the first efforts of her child upon the piano, looking down on 


the little head, while her hand points to the music. 


Signed at the right. 
Height, 15 inches; width, 114 inches. 


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WILLIAM M. CHASE, N. A. 


/ 0 13—IN PROSPECT PARK 


A nurse and child are stooping over a bed of flowers on a 
well-kept grass-plot bordered with shrubs and small trees, beyond 
which appears a building. On a bench beside the gravel walk 
in the front of the picture sits a lady. A grayish day is depicted, 


which robs the colors of their brilliance. 


Signed at the left. . 
‘Height, 10% inches; length, 19 inches. 


| J. FRANCIS MURPHY, N. A. 


I4—AUTUMN | 


JO 


A sloping pasture, skirted on the right by a fringe of trees 
with slim stems, gray or black, and feathery branches of orange 
and red. The edge of a little pool in the foreground is sprinkled 
with moon-flowers, and the grass is vividly green, yellowing to- 
wards the distance. Overhead is a blustery sky, white and shredded 
with smoky gray. The feeling of freshness prevails, and the at- 


mosphere is white, as in early November. 


Signed at the right ; dated, 1899. 


Height, 14 inches ; length, 18% inches. 


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W. M. HARNETT 


I5—STILL LIFE 


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Upon the corner of a table covered with a moth-eaten cloth 
are grouped a number of objects venerably old. Among them 
are a pewter candlestick, a blue and gray china vase, and books 
bound in creamy calf and russet-colored leather. Everything 
has been mellowed by the touch of time, and the exsemble of 


color is agreeably sober. 


Signed at the left; dated, 1888. 


Height, 13 inches ; length, 16% inches. 


By 


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y I6—COTTAGES IN THE NORTH 
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Here again is the dune-land overlooking the ocean. The 
foreground is a waste, tasselled with gray grass. White red- 
roofed cottages are nestling in a hollow, and dunes stretch be- 
yond, with a yellow patch of sunlight; overhead being an open 
sky with fleecy clouds. The cottages are humble, but space and 


health are around them, and the shelter of mother earth. 


Signed at the left. 
Height, 12 inches; length, 15% inches. 


GUSTAVE COURBET 


I7—LOW TIDE 


Iho 


The scene is bleak and cheerless—a glimpse of beach covered 
with chunks of frozen snow ; boats drawn up; the sea cold green, 
with slaty shadows in the under waves; the horizon, yellow 
streaked with red above, merging into murkier tones, then grow- 
ing crisp and cold, Out of the realism is extracted a stern, crude 


poetry. 


Signed at the left. 
Height, 14% inches; length, 17 inches. 


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IS8S—ON THE OISE 


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From a spacious sky, flecked with white and slaty clouds, 
night is descending upon the river, which is spread with a cover- 
let of waning light. Beyond the indented, sedgy banks are low 
meadows. spotted with cattle, a red roof, and distant fringe of 
trees. The atmosphere is cool and moist, and the sober color- 


ing of vegetation deep and full in tone. 


Signed at the right. 
Height, 16 inches; length, 22 inches. 


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AUGUSTE BONHEUR 


IQ—SHEEP IN THE SCOTCH HIGHLANDS 


S06 


A group of mountain sheep, with white or creamy or tanned 
fleeces, are gathered upon a craggy eminence overlooking the gray- 
blue water of a lake that is sheltered under shadow of brown 
hills, beyond which a fainter range appears. Blobs of gray cloud 
float in a bluesky. The picture is reminiscent of the pure, bracing 
air of Scottish hills and of their clear coloring, which Sir John 


Millais used to compare with that of a rain-washed pebble. 


Signed at the right. 
Height, 14 inches ; length, 17% inches. 


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J. J. VEYRASSAT 


2O7-GOING: TO One 


Two Breton farmers are riding side by side to market. The 
hearer to us is mounted on a powerful gray, whose broad neck 
and shoulders catch the light. The other horse is dark brown, 


and its rider’s red waistcoat makes a brilliant spot in the picture. 


Signed at the right. 
Height, 13 inches; length, 18% inches. 


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2I—A WET DAY 
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On the side of a village road is a fringe of nearly leafless 
trees, on the other a straggling row of cottages, white and pink. 
A figure in black passes along the sloppy road ; everything drips 


or glistens with moisture ; even the air is wet. 


Signed at the right. 
Height, 1714 inches; length, 21% inches. 


ON THE NIANTIC 


BY 
ROBERT W. VAN BOSKERCK 


ROBERT W. VAN BOSKERCK 


22—ON THE NIANTIC 


2/0 


The river is seen flowing smoothly between flat pastures 
Studded with oaks. 


Signed at the right. 


Height, 1344 inches; length, 20 inches. 


MORNING BREAKING 


BY 
WILTIAM HART 


“. WILLIAM HART 


23—MORNING BREAKING 


Hoe 


In the. foreground a calf and cow are standing in a pool 
of water. There is a meadow beyond, bordered with trees and 
dotted with cattle, and in the distance a ridge of hills. The 
thin haze of early morning still lingers, and quiet and freshness 


are expressed. 


‘Signed at the left. 
Height, 1534 inches; length, 2x inches. 


MOONLIGHT AT SEA 


BY 
meet. LILf) FTA AS 


M. F. H. DE HAAS, N.A. 


24—MOONLIGHT AT SEA 


Sad 


The sky is slaty gray, curdled and creamy around the vapory 
moon. A brig is heeling over before a smart breeze which flicks 
the tops of the waves into ragged ends that catch fragments of 


the light which streams through the centre of the picture. 


Signed at the left. . 
Height, 16 inches ; length, 28 inches. 


Ret Ao aren tps 


gang 


RP het Tyee a 


SD pl eg OTT 


W. A. BOUGUEREAU 


25—GIRL’S HEAD 


| The brown hair is parted in the centre, drawn smooth above 


the brow, and neatly braided on the top of the head. The strong, 
sweet face droops towards the left shoulder, the eyes looking 
down under slightly raised lids. The neck is bare, and the 


bosom half hid by light-blue silk drapery. 


Signed at the upper left ; dated, 1898. 


Height, 16 inches ; width, 13 inches. 


VE-BELLECOUR 


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E. P. BERNE-BELLECOUR 


26—TWO ARMS OF THE SERVICE 


S60 


The scene is the exterior of a country auberge, before which 
two troopers have halted to pass the time of day toa third soldier, 
who is seated on the steps. They are all three in the red and 
blue of the French army ; but compared with the uncouth uni- 
forms of the chasseurs the third’s is trigly smart. The bicycle 
leaning against the wall explains the branch of the service to 
which he belongs and the curiosity aroused in the members of 
the older mounted corps, whose slouching attitude is well con- 
trasted with the alert bearing of this spruce example of modern 


methods, 


Signed at the left; dated, 1897. 


Height, 16 inches; length, 20 inches. 


LANDSCAPE AND CATTLE 


BY 
WILLEM MARIS 


oe 


WILLEM MARIS 


27—LANDSCAPE AND CARiGs 


A summer day in Holland, with the silvery atmosphere steal- 
ing over flat meadows beneath a lofty sky, shining on the backs 
of cattle, and quivering among the willows and sedges beside the 
brook, on which it floats in company with flickering shadows and 
the green reflections of the water plants. The whole scene is 
bathed in tender haze through which the deeper colors struggle 


to be crisp. 


Signed at the right. 
Height, 20 inches ; length, 1514 inches. 


JULES CYRILLE CAVE 


28—HEAD OF A YOUNG GIRL 
ASS” 


With an expression of happy trust a girl looks over her right 
shoulder, which has escaped from the folds of a loose white gown. 
The dark brown hair is neatly dressed over a beautifully modelled 
neck ; her eyes are large and earnest, and the cheeks round with 


youth and health. 


Signed at the right ; dated, 1899. 


Height, 15% inches; width, 13 inches. 


JEAN BERAUD 


20—IN: THE PLACE DEVI) CON 


3 de 


One need not wait to identify the Place, the Pont de la Con- 
corde, or the Chambre des Députés beyond. Unmistakably the 
scene is Paris ; a bright little transcript from the life of its streets. 
It is the hour of setting out to work. A lawyer with his brief- 
case under his arm has stopped to converse with a friend. Their 
chat is broken off while each looks toward a trim and dainty 
figure. She is the model in a ‘‘ Magazin des Modes,” whose fine 
shape and pretty face set off to fullest advantage the cloaks and 
hats that she puts on to display them. Even now she is on her 
way to the house of a customer, with confections in the band- 
boxes ; from hat to heel as cAzc a bit of femininity as you could 


find even in Paris. 


Signed at the right. 
Height, 19% inches; width, 13 inches. 


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JEAN JACQUES HENNER © 


320—-LOLA 


L025” 


Emerging from a luminous darkness, in which brown and 
gold alternately predominate, a wealth of loose hair of the color 
that Titian loved to paint frames a face of singular purity. The 
eyes are glimmering through a mystery of shade ; the lips crim- 
son, like geranium petals, on a face white as a magnolia blossom. 
Deep golden shadow jealously veils the neck, beneath which the 
young bosom mildly swells, rivalling the face in purity. A full 
crimson sleeve, hanging from the left shoulder, completes the 
richness of the color scheme. 

Girlhood is budding into womanhood, peering with quiet 
seriousness into the new world about it, with a beauty of mind 
and face unconscious of its fascination and a little wondering at 


the spell it exerts. 


Signed at the upper right. 


Height, 20 inches; width, 16 inches. 


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3I—THE POULTRY YARD 


182° 


Beside the gray wall is a Zosse of bobbing heads, a patch- 
work of brilliant colors, and a suggestion of animated movement. 
The hens are white or brown or speckled, and standing among 
them is a rooster, distinguished by gold and orange facings to his 
dark plumage. Nor will it be overlooked how pleasantly the 
green cabbage leaf amid the dull yellow straw completes a scheme 
of color more vivacious than usual with Jacque. This study of 
the habits and character of fowls, as well as of their picturesque 
qualities, reminds one that, besides painting them, he also bred 


poultry, and even wrote a book upon the subject. 


From the Varilla Collection, Paris, 1894. 


Signed at the left. 
Height, 17 inches; length, 25 inches. 


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JULES JOSEPH LEFEBVRE 


32—SAPPHO 


Absorbed in maiden contemplation rather than inspired rev- 
erie, the young poetess sits, gazing fixedly before her. The black 
hair, crowned with bays, falls over her shoulder; her features, 
clear cut in profile, are milky white; the hands are folded tran- 
quilly upon her knees, one holding a scroll of ivory tone illu- 
minated with scarlet lettering. Her robe of creamy crinkled 


drapery is wrought in embroidery of gold and scarlet. 


Signed at the upper right. 


Height, 20% inches; width, 15%4 inches. 


Fos ni a yen nn = ene 2 
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MINDING THE FLOCK 


BY 


eee MEULEN 


F. P. TER MEULEN 


33—MJNDING THE FLOCK 


3S 


The soft sky and gray-brown meadow, yellow in parts, are 
agreeably characteristic of Dutch landscape. The flock is ren- 
dered with a broad touch that has expressed the checker of light 
and dark and the looseness of the wool, as well as the form and 
variety of movement in the individual sheep. The boy’s blue 


shirt affords a cool, clear spot amid the general tenderness of the 
surroundings, 


Signed at the right. 


Height, 20% inches; width, 19 inches. 


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BRUNETTA 
; | BY 
GUSTAVE JEAN JACQUET 


GUSTAVE JEAN JACQUET 


34—BRUNETTA 


L/S 


How demurely piquant the elegance of this damsel! 

A precise little black cap with plume is set on one side of the 
piled-up waves of hair; the head is tilted on its graceful neck, 
and the eyes lilt toward us with an expression half mischievous, 
half earnest, that is echoed in the poise of the lips. Below a 
pearl necklace the curves of the breast are confined by a square- 
cut bodice of light plum-colored silk with damask pattern in 
blue, white, and dull red, while a white cape lined with blue hangs 


from her shoulder. 


Signed at lower centre. 


Height, 21 inches ; width, 1734 inches. 


J. G BROWN, N. A. 


35—WANTS TO SHINE 


SOS” 


Business is evidently dull. The shoeblack boy, with box 
slung over his shoulder, and shabby coat reaching half-way to 
his ankles, stands gazing wistfully. One hand holds the brush 


invitingly, the other is thrust into his pocket. 


Signed at the right. 
Height, 23% inches; width, 15% inches. 


CHURCH OF SAN ROCCO, VENICE 


BY 
MARTIN RICO 


on 


MARTIN RICO 


306—CHURCH OF SAN ROCCO, VENICE 


noes. 


The church with its baroque facade, erected in 1771, is here 
represented in the almost shadowless heat of high noon, when 
the drowsy water basks in the blue of a cloudless sky ; the archi- 
tecture is cut clear, and every ornament presents.a sharp con- 
trast of light and dark. The trees. afford a. grateful patch of 
greenery, and figures spot the quay with animation, particularly 


one of the women, ina red shawl, who is entering the church. 


Signed at the left. 
Height, 28inches; width, 18 inches. 


ON THE SOUTH SHORE, NEWPORT 


BY 
Berens CHARDS 


W. T. RICHARDS 


37—ON THE SOUTH SHORE, NEWPORT 


Sbo 


There is a fine tumult of green waves, capped with white, fol- 
lowing one another in stately rows. Surging movement is con- 
tinued far away to the horizon. Here there is a central glow of 
light, carrying warmth up to the zenith, while to right and left 
the sky is slaty-colored and tells of storm. In the foreground a 
wave bursts upon a rock in a shower of spray, while on the other 
side of the picture the creamy foam is licking its way up the 


sand. 


Signed at the left ; dated, 1891. 


Height, 17% inches ; length, 29% inches. 


f Weipa 


ty 


JAMES M. HART, N. A. 


38—LATE AFTERNOON 


L3S~ 


Down a country lane, arched by trees, cows are slowly troop- 
ing homeward, one having halted by a pool. To the left is a 
meadow with a distant hay-wagon, and, still farther off, the spire 
of a village church. Warm greens and browns predominate in 
the color and lend a suggestion of serenity and pleasantness to 


the natural beauties of the spot. 


Signed at the right. 
Height, 17 inches; length, 25 inches. 


THE AMATEUR ARTIST 


BY 
BOG a G. LOUSTAUNACU 


LOUIS A. G. LOUSTAUNAU 


39—THE AMATEUR ARTIST 


#30 


On a gilded console table is arranged a painting of the Virgin 
and Child framed by an arch of Dresden-china flowers. Can 
the cardinal be attempting a subject after the Della Robbia man- 
ner? However that may be, he stands back with a fine mixture 
of satisfaction and diffidence as he submits his work to the 
criticism of a young exquisite in the eighteenth century costume, 
who views it with an air of supreme importance and no little 


suggestion of ignorance. 


From the Salon of 1878. 


Signed at the left. 
Height, 21 inches; width, 17% inches. 


RETURNING FROM THE BOATS 


Bares 8° 


JOSEF ISRAELS 


2.0$ 


JOSEF ISRAELS 


4O0—RETURNING FROM THE BOATS 


Gathering over the water is a haze through which a fishing 
smack is dimly seen. The children return from bidding their 
father good-by—a strong boy with a chubby sister on his back, 
One need not say that Israels loved children ; it is evident in the 
lovableness of the types here represented and with such vigor 
as well as tenderness. There is no trace of sentimentality or of 
posing the children for effect. The artist, living amongst and 
studying the fisher-folk, may have often seen such an episode, and 
he paints it frankly and simply, in its humble unattractiveness, 


its gray monotony sparingly relieved by dull-hued colors. 


Signed at the right. 
Height, 24 inches; width, 15% inches. 


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OCTAVE TASSAERT 


4I—THE ABANDONED 


The light streams fitfully through a church, glowing upon a 
bridal couple, and graying the form of a woman who has started 
from a chair and seems about to faint. In her convulsive move- 
ment she has tightened the arm around her child, which, fright- 


ened, clutches at the mother’s shawl. Close by, an old woman 


- continues her devotions, while another, preoccupied with prayer 


or self, turns an impassive face. Even from a distance one can 
see the bride is young and modestly graceful, fit object for her 
husband's evident devotion ; the other woman aged and gaunt 
with suffering. The story is plain enough and not uncommon— 
a brief paragraph out of the book of life, abridged and vitalized 
by a romantic painter who has relied for effect upon the resources 
of his own art. 


From the Chocquet Collection. There is a variant of this pic- 


ture in the Musée de Montpellier, Collection Bruyas. 


Signed at the left ; dated, 1856. 


Height, 2: inches; width, 17% inches. 


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MARKET SCENE IN THE ORIENT 


BY 


ALBERTO PASINI 


ALBERTO PASINI 


4. 2—MARKET SCENE IN THE ORIENT 


2 b00 


This picture illustrates Pasini’s skill in delineating the brilliance 
of the East and in investing the scene, through the introduction 
of figures, with all the charm of a genre subject. The market 
place is fringed with a border of houses, variegated in color and 
form, with curious ingles and projections, open stabling below 
for the merchants’ horses, and jalousies above, through which one 
suspects that women’s eyes are peering. How animated the 
groups! A vender of roasted chestnuts is the centre of one; a 
chafferer of oranges and melons of another ; elsewhere a knot of 
men discusses the gossip of the neighborhood, while in another 
part two men are playing checkers and leaving their store of fruit 
to advertise itself. Everywhere picturesqueness of costume, life 


and movement, 


Signed at the right. 


Height, 14 inches; length, 25 inches. 


0.2. 2frrkct. 2. 


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360 


B. J. BLOMMERS 


4.3—RETURNING HOME 


The picture presents a simple fragment of every-day life among 
the peasants of Holland. In the fast-dying light, along a road 
winding between the dunes, labor a horse and cart, beside which 
aman is dragging heavy feet. Nearer to us is a woman with a 
child in her arms, mingling in her face the tenderness of the 
mother and the blank look of the tired peasant. The happy spot 
in the picture is the little girl that trots by her side, a chubby 
morsel of healthy child life not yet dulled or pinched with the 
struggle for existence. The subject reveals the influence of the 


painter’s friendship with Josef Israels. 


Signed at the right. 


Height, 18 inches; width, 1534 inches. 


-— 
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JEAN CHARLES CAZIN 


 44—ELSINORE 


LOLS" 


A view of the castle in Denmark immortalized in the tragedy 
of Hamlet. A causeway leads across the moat to an entrance in 
the walls, flanked with curved bastions. Moss and shrubs over- 
grow the walls, and poplars rear their spires beyond. All are 
mirrored in the water, which reflects also the gray of a heavy sky, 
lightened towards the right. An air of quiet sadness broods over 


the massive ruin. 


Signed at the right. 


Height, 1434 inches; length, 17% inches. 


IN THE ENGLISH CHANNEL 


, BY 
JULES DUPRE 


JULES DUPRE 


45—IN THE ENGLISH CHANNEL 


ASs 
The horizon is a dark slaty blue; above is a belt of gray 


cloud with streaks of blue, topped by a duller gray vault. There 
is threat of storm, and before asharp wind the curling waves 
are driven in long rows, and the sailboats keel over. Atmos- 
phere and waves are alike wet, and wind and water are full of 
racing movement. The picture represents Dupré in one of his 


sterner moods. 


Signed at the right. 


Height, 11% inches; length, 18 inches. 


EVENING 


| BY 
CHARLES FRANCOIS DAUBIGNY 


Cc. F. DAUBIGNY. 


4 60—EVENING 


wAny-y) 


A harmony of pearly grays and velvety low tones deep and 
luminous as old enamels. 

The sun has dropped behind the clouds, and the middle sky 
is still quick with light. But the low ridge of hill, sloping down 
to the river, is wrapped in shadow ; trees and pasture are folded 
in darkness, and darkness broods over the water. Natureis com- 
posing herself to sleep. There is coolness as well as moisture in 
the air; the scene is almost cheerless, a little eerie in its still so- 
lemnity, It is quite arelief to discern through the thickening 
gloom a figure and cows coming down to the river’s brink. Their 
presence brings companionship, linking the lifelessness of the scene 
to the ebb and flow of human existence. The lonely spot becomes 


a fragment of the Jaysage intime. 


Signed at the left; dated, 1875. 


Height, 15 inches; length, 26 inches. 


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— 


JEAN CHARLES CAZIN 


4 7—THE VILLAGE OF MACHERIN 


foe 


The village is on the outskirts of the forest of Fontainebleau. 
Its homely cottages are shown running up one side of a sloping 
road. To the right is a patch of gray-green grass and a foot- 
path along which a woman is wending homewards. She is 
passing a little garden of cabbages where a man still works. 
The sky is streaked with blue and gray, and warm with the after- 


glow of sunset. 


Signed at the left. 
Height, 1244 inches; length, rs inches. 


oe as i 


R 


NING 


- J. B. C. COROT 


4 8—MORNING 
0 


<0 


The shadows are still lying in bars across the cool dewy 
bre meadow, silver-streaked where the young light kisses it. In the 
eg is distance the village yet slumbers, the only sign of human life 
U P, 6 Vo being an old woman coming toward us, leaning on a stick, To 

Vv the right is a glade between trees, where slim white birch stems 
glimmer in the shadow of dull green foliage that trembles like 
downy plumage in the awakened air. There is a delicious sense 


of purity and fragrance, of cool moisture and reviving life. 


Signed at the left. 
Height, 10% inches; length, 14 inches. 


ap OY? 2 Ow oA j 
Cv deam a : 


Tb0 


N. V. DIAZ DE LA PENA 


gQ—THE VIRGIN AND CHILDREN 


The picture represents the Virgin seated amidst foliage, with 
the Christ Child on one side and St. John on the other. The 
evident motive has been to paint a harmony of gem-like colors 
and a fantasy of lights and shades. 3 

It is from the P. Gerard Collection, Paris, and bears on the back 


the stamp of Baugniet, the well-known art dealer, a friend of Diaz. 


Signed at the left.” 
Height, 7% inches; length, 6 inches. 


oH a oe 


JULES DUPRE 


50—THE WATERING PLACE 
2.000 


: It is the hour of beauty, when the glories of day melt into the 

| repose of night. The bank of clouds has turned to gray as the 
light fades slowly out of the sky, a farmhouse snuggles close below 
the horizon, and the pastures are hushed under the lengthening 
shadows. Some oaks tothe right still retain the glow upon their 
crests, but wrap the sloping bank beneath in a depth of sombre 
warmth. Through it is discovered a figure descending to the 
pool, in which two cows are standing. 


The picture is rich and jewel-like in color, with a noble gravity 


of tranquil feeling. 


Signed at the left. 
Height, 104 inches; length, 14 inches. 


TOINE VOLLON 


2 


ANTOINE VOLLON 


5I—FLOWERS AND FRUIT. 


e/e 


If you look in a picture of still life for realism, you will scarcely 
find it more convincingly rendered than in certain details of this 
one; in the bunch of cherries, for example, and the plums, ap- 
parently so fleshy and juicy beneath the satin skin. But still more 


admirable is the rich harmony of color in the arrangement of the 


_ red and white roses in the brown earthenware jar, and the sprink-. 


ling of crimson and purple fruit against a background of cool 
greens, luminously dark in some parts, delicately gray in others, 
The color throughout is luscious and brilliant, yet dignified in 
its sober control; applied with that mingling of firmness and sup- 


pleness, of tenderness and virility of brushwork which charac- 


terizes the touch of this greatest of modern still-life painters. 


Signed at the left. 
. Height, 19% inches; length, 2334 inches. - 


weenie A 


Ls 
a 


ES 


E.-G. GRANDJEAN 


52—IN THE PARK 


S60 


It is probably a March morning ; for the trees which line this 
curving stretch of roadway in the Bois de Boulogne are brown and 
gray, with no trace of leaves, while the grass is just beginning to 
show green. In the foreground a lady on a white horse and a 
gentleman on a brown are trotting side by side. Farther back 
two other riders are walking their horses in the opposite direction, 
while in the distance approaches a mounted officer in light blue 


tunic. 


Signed at the left; dated, 1899. 


Height, 23% inches; width, 19% inches. 


N. V. DIAZ DE LA PENA 


53—LES GORGES D’APREMONT 


<a. S06 


It is a glade in the forest of Fontainebleau, a narrow passage 
leading from the gloom into the outside light. Light and dark- 
ness are struggling for possession of the majestic oaks. There 
is a profundity of solemn shade, impenetrable at first, though 


by degrees it loosens and. becomes mysteriously transparent, 


| revealing the sober richness of the forest hues. Illuminating the . 


gloom are wierd flickerings of imprisoned sunshine—light fit- 
fully straying amid the tangle of foliage, halting on smooth 
trunks or glancing along the boughs, hovering on the surface of 


a little pool, and streaming more freely up the grassy passage, 


_ reaching at last a patch of sky. 


Diaz loved to bury himself in the recesses of the forest, and one 


can imagine him here, impressed with the grandeur and awe of 


_ his surroundings, yet finding a poet’s delight in weaving into the 


sombreness of the theme all the play of fancy which, in this case, 
the magic of light suggested. In endless repetition light ap- 
pears and reappears, gleam pursuing gleam like the flying music 


of a fugue. 


Signed at the left; dated, 1859. 


Height, 19% inches: length, 28 inches. 


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MARIE DIETERLE 


54—A WHITE COW 


(U/o 


In the foreground of a pleasant pasture, sloping up towards 
purple hills, under a sky fresh and breezy with flocking clouds, 
two cows are standing in a little pool beside willow trees, the red 
one drinking, while her white companion alertly gazes forward. 
The picture is a worthy example of the happiest work of Van 
Marcke’s daughter ; vivacious in color, like the father’s; ex- 
pressing the character, as well as the form, of cattle ; and, in its 
suggestion of fresh and healthy air, of pervading light and 
atmosphere, and juicy vegetation, instinct with the spirit of the 


country. | 


Signed at the left. 


Height, 21 inches; length, 26 inches. 


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Sb Bie 
Peer Sy, 


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GEORGE H. McCORD, A. N. A. 


455—SUNSET IN AN ENGLISH HARBOR 
<)e 
Behind the hills which enclose the harbor the sun is sinking 

in a glow of rose and yellow, which is reflected in the water 
and illuminates the sails of fishing craft. The hills themselves 


are dark, and darkness is lurking in the corners of the harbor 


and under the shelter of the boats. 


Signed at the left. 


Height, 21 inches; length, 26 inches. 


SWEET DO-NOTHING 


BY 
RAIMUNDO DE MADRAZO 


RAIMUNDO DE MADRAZO 


50—SWEET DO-NOTHING 

2OO | 
Madrazo has a marked partiality for pink. He shows it here 
in this study of a girl who sits cross-footed on a rock, leaning 
back upon herhands. The crisply-fitting bodice, short. skirt, 


silk stockings and shoes, and the bow upon her head, all pink, 


are framed in a background of foliage. 


Signed at the right. 
Height, 27 inches ; width, 21% inches. 


Ey “f 


tat 


VENICE FROM MY WINDOW 


BY 
192) 1 PC VAGME 


FELIX. ZIEM 


5/ VENICE FROM MY. WINDOWS) 


[Ke 


Framed by an arch of golden-brown foliage, the sky is misty 
white with light from a moon that hangs midway. Spectral-like, 
the dome of Santa Maria della Salute shows tenderly luminous, 
a spirit hovering above the deep blue water of the Grand Canal, 
on which are the flickering jewel gleams from passing gondolas. 
Pleasure is abroad. But the significance of the scene is peace, 


the calm beatitude of night. 


‘*T felt her presence, by its spell of might, 
Stoop o’er me from above; 
The calm, majestic presence of the night, 


As of the one I love.”’ 


Signed at the left. 


Height, 29% inches ; width, 23 inches. 


"y 


A 
Z re 
eile Sty 

ae 


RAFFAEL SORBI 


58—A GAME OF CARDS 


L475 


Soldiers and civilians in the picturesque costumes of rather 
more than a hundred years ago are sitting at tables in the court- 
yard of a country inn. Some are drinking, others chatting, and 
in the centre two women and a man are playing a game of cards. 
One of the women, handsome and buxom, dressed in a plum-col- 
ored dress puffed at the hips, holds out a card—a good one, evi- 
dently, for the man rubs his forehead in perplexity. The last of 
the trio watches his face, while another girl, standing behind the 
winner, shows amusement at the outcome. The picture is a 
characteristic example of a favorite style of Italian genre—viva- 
cious in color, animated in drawing, and clever in characteriz- 
ation, not the least agreeable part being the background of sunny 


hill sprinkled with white houses. 


Signed at the lower centre. . 


Height, 19% inches; length, 30% inches, 


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HENRI LEROLLE 


SQ—RETURNING HOME 


1020 


Nature drowsily sinks to rest; the simple objects of the scene 
—a haystack and field sloping down to a road—showing as blurs 
against the soft, rosy sky. Peasant women are returning from 
work—three across the field, one along the road. The strag- 
gling figures are converging to a point a little farther on, and al- 
ready the woman on the road is anticipating the companionship. 
Although her form is obscured by shade, one feels that her gaze 
is directed toward the others and detects the gesture of friendli- 
ness. This one is softly relieved against the dull green of the 
bank; one of the others shows like a soft blot against the sky, 
while the remaining two are dark against the darker mass of 
haystack which they are passing. Lerolle has made excursions 
into many fields of subjects, and this is a good example of the 


one he made into that of peasant genre. 


Signed at the left. 


Height, 314% inches; width, 25 inches. 


[spe Parper He NS2 fe JOe 
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CHARLES CAZIN 


JEAN CHARLES CAZIN 


60—SAND DUNES 
1000 

The young moon hangs in a vast sky absolutely cloudless. 

The rosy flush of sunset is fading out, and darkness creeps over 

the motionless billows of sand. On the farthest dune, only the 
scrub and vegetation loom out, purple and deep green. Nearer 

to us, the pink yellow of sand still shows between the hummocks 

of grass. ‘The scene is almost awesome in its stillness and desola- 

tion, yet its immensity is felt, and gradually the sense of perfect 


peace. 


Signed at the right. 


Height, 28 inches ; width, 23 inches. 


/ige 7b arper > $e HE ge file 


CHARLES EMILE JACQUE 


60I—STABLE INTERIOR 


2:08 


A tonal quality of color under skilful arrangement of light, 
one of the distinguishing features of the Fontainebleau-Barbizon 
painters, is well represented in this picture, and with it the 
accuracy of drawing and knowledge of animal life in which 
Jacque was a master. Notwithstanding the movement and in- 
dividuality of character in the separate sheep, the unity of feel- 
ing throughout the picture is complete. How enjoyable the 
intricate simplicity of the light and dark! A patch of white 
plaster on the wall supplies the focus of light, around which cir- 
cle waves and currents of lighter or darker tones, in colors of 
gray, brown, and yellow, fused in warmth, and accented by spots 


of brightness in the plumage of the fowls, 


From the Jacque sale, Paris, 1894, and illustrated in the catalogue 
of that sale. 


Signed at the right. 


Height, 25 inches ; width, 21 inches. 


SAN TROVASO, VENICE 


BY 


HENRY P. SMITH 


HENRY P. SMITH 


62—SAN TROVASO, VENICE 


The turret and low spire are seen behind the house, which 
fronts upon the canal. The brickwork and warm stucco, red 
tiled roof, and freshly budding trees, together with the blue of sky 


and water, make up a scheme of fresh, clear color. 


Signed at the left. 
Height, 34% inches ; width, 25 inches. 


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LEE TEENIE BOT i GI SN a ee Play Oe nitrate ae 


FELIX ZIEM 


63—THE OLD PORT OF MARSEILLES 


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A beautiful turquoise sky vibrates with the warmth of the 
south, while the water basks in its hue and reflects the brilliance 
of sunny buildings and dark shipping. On the left is the Health 
Office of the port, from the square tower of which droops the 
tricolor. To the right looms up a steamer, round which lie 
various small craft, one with a crimson awning, and farther 
back in the drowsy haze can be guessed the existence of more 
shipping and houses. The picture is a worthy companion to the 
studies of Constantinople and Venice which have made this 


painter famous. 


Signed at the right. 
Height, 27% inches; length, 35 inches. 


= ' zy ‘ 5 


Ae 
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HENRY W. RANGER 


64—A NOVEMBER PASTURE 


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One may hazard a guess that the subject was chosen in West- 
chester County. Gray boulders stud the pasture, amid tussets of 
tawny green. Beside a stone wall on the left is a sturdy oak, fling- 
ing the light from its trunk and crowned with a mass of golden 
brown. Beyond le arocky bank, tasselled with feathered ferns 
and plumed with yellow and red foliage. The light is mellow 
and the sky buoyant and full of color. ' 


Signed at the left; dated, 1899. 


Height, 27 inches ; length, 35 inches. 


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CHARLES EMILE JACQUE 


6 5—SHEPHERDESS AND FLOCK 


W.boe 


On the edge of a little pool in the foreground crowd the 
sheep ; a fleecy mass, spotted with heads, that nose the air or 
stoop to drink. A sturdy shepherdess stands at rest under the 
shade of a bulky oak; other trees show beyond, and to the right 
a breadth of meadows, stretching toward hills, blue in the dis- 
tance. The details are distributed in ample masses against a 
fine expanse of sky, and the colors are fused into a tonal arrange- 
ment of sober richness. The picture is large in conception 


and treatment; as restful and dignified as an eclogue of Virgil. 


From the C. Moody Collection, Glasgow. 
Signed at the left. 


Height, 31% inches; width, 25 inches. 


oy 
nee 


VIRGILIO TOJETTI 


66—THE DANCING LESSON 


KSé 


A pretty girl is seated on the end of a marble bench. With 
her left arm, freed from her chemise, she directs the movements 
of a little cupid, who steps it rather diffidently, eying his toes 


after the fashion of beginners. 


Signed at the right ; dated, 1891. 


Height, 35% inches; width, 24 inches. 


‘ 
a) 


CLAUDE MONET 


6 7—VETHEUIL 


/SSo 


It is an interval of clearness in a day of clouds and shifting 
light. The atmosphere is cool and steely. On the left, across 
the stream, is a bank with willows and poplars springing up be- 


tween ; a church spire, and houses with red roofs. Beyond, and 


- curving to the left, are low: hills, pale green in color, dotted with 


trees and houses. There is a boat with two figures in mid 
stream. It is a study in greens and blues, sharpened by clear 
light, a phenomenon intimately true to nature, its crudeness 


assuaged by art; a picture very vigorous and sincere. 


Signed at the right ; dated, 1880. 


Height, 22% inches; length, 31 inches. 


ALFRED SISLEY 


68—ON THE BANKS OF THE LOING: 
MORNING 


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It isa point where the river winds. The left bank is flat meadow 
with fine trees; on the right a few boats are moored, and the 
ground slopes up in acurving ridge dotted with white, red- 
roofed houses nestling amid greenery. The sky is a brilliant 
blue ; there is quietly pervading sunshine, tender atmosphere, 
and pellucid water that glides and mirrors the countless colors. 
The complexity of elaborated methods is not more wonderful 
than the absolute simplicity and oneness of effect. The laby- 
rinth of separate notes is woven into a harmony complete and 
beautiful. . Sisley loved the Loing, searched its beauties as a 
lover does, and, like a lover, reached the simple fact that the 


object of his love is lovely. 


Signed at the right ; dated, 1891. 


Height, 22% inches ; width, 21% inches. 


CAMILLE PISSARRO 


69—THE ORCHARD 


Wh Vin 


The soft freshness and cool light of spring steal through the 
scene. The sky is a tender blue, subtly grayed; against it is 
reared the turret of a little church, from which straggles an 
irregular line of dull-hued roofs. The cottages, bosomed amid 
fruit trees, stand upon.a slight ridge which slopes down to an 
orchard cut ‘up into green and brown patches, a belt of goose- 
berry bushes;-and fragrant soil newly turned. A woman and 
child are coming ‘along a narrow path, and the trees behind 
them are budding into faint green or still timid blossoms. How 
the harmony of these whites and greens, with the sober coloring 
of brown and gray, suggest the shy awakening of nature from its 


winter sleep! — 


Signed at the right ; dated, 1870. 


’ Height, 21% inches; length, 32% inches. 


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we? CLAUDE MONET 


Ny 
“say 


7O-—-OLD) CHORCH (ATi Eons 


This picture is one of five that Monet has painted of the 
same subject—the old church, with its apse end, flying buttresses, 
and slender tower, raised above the meadows, where--the.cows.... 
stand knee-deep. in. grass..or-pools.of..water, the whole reflected 
in the stream. ‘He has a fondness for simplicity of line and mass.) 
The elements of the picture are the horizontal belts of wall, 
meadow, and water opposed to the vertical masses of buildings 
and trees. But over this simple framework he weaves a web of 
fancy, choosing the early morning hour when the mist becomes 
pearly as it looses and disperses in the growing warmth. Thus 
the scene becomes spiritualized ; form melts into color, and the 
colors tenderly fuse; everything is and is not; the facts take 


second place, and imagination revels. 


Signed at the left; dated, ’94. 


Height, 25 inches ; length, 3534 inches. 


nolan lac reat 9 ie} ‘ 4g 


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BAY, 


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FRITZ VON UHDE 


7I—GOOD FRIDAY MORNING 


The day is breaking red beneath asullen, threatening sky, and 
three women are traversing a path beside a stone wall. They 
are of the peasant class, and one leans heavily on the arm of an- 
other, who looks at her in dumb pity, as if she would comfort her, 
but cannot. The third, behind them, has her hands before her 
face in apparent abandonment to sorrow. Such are the simple 
statements of the picture. But one remembers Uhde's fancy to 
take a Bible theme and ‘translate it into modern flesh and blood. 
Perhaps the title of the picture supplies a hint, and in our imag- 
ination the women suggest the three Marys; the wall encloses 
a place of sepulchre, and the lurid sky portends a tragedy to One 
differently but intimately related to all three. Uhde in other pic- 
tures has shown himself a master of tender coloring and lighting. 
The harshness of both in this intentionally contributes to the 
suggestion of despair in the women’s sorrow. They mourn for 
One who is despised and rejected, and the very scene is forlorn 


and loveless. 


Signed at the left. 


Height, 25% inches ; length, 3x inches. 


TERLOO 


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_EDOUARD DETAILLE 


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J. B. EDOUARD DETAILLE 


72—THE CAPTURE OF (A) BREST ee 


[425° 


AT WATERLOO 


(Pastel) 


On a powerful bay charger a young cutrassier gallops forward. 
His helmet has fallen off, and the short hair stands stiff over his 
tanned face. He sits erect and firm in the saddle, holding aloft, 
with an expression of triumph, a British red ensign, the ragged 
ends of which flutter in the wind. Another trooper gallops close 


behind, and farther back is a suggestion of others still fighting. 


Signed at the right; dated, 1889. 


Height, 4134 inches; width, 29% inches. 


‘ oy tay 
One Lys 


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thine 


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GUSTAVE JEAN JACQUET 


72—THE PROPOSAL 


Against the shadow made by an angle in the gray wall stands — 
an Italian peasant girl, her fingers lightly entwined, perusing in- 
tently the face of a young man, which is obscured by the shade of 
a wide-brimmed dark hat, from under which his black locks fall 
to the shoulder. His figure has a braggart air and is clothed in 
a fantastic costume of yellow and gray velvet. With the ostenta- 
tion and ardor of the man the girl’s quiet is admirably con- 
trasted. She is evidently fascinated by the fellow, yet hesitates 


to accept his overtures. 


Painted in 1875 for M. Angelo, Paris. 


Signed at the upper right. 


Height, 45 inches ; width, 27 inches. 


"AND HI 
OF VERSAILLES | 


JEAN LEON GEROME 


74—LOUIS XIV. AND HIS COURT IN THE 


Shoo 


PARK OF VERSAILLES 


The veteran painter, who made his désu¢ at the Salon before 
the majority of his contemporaries were born, regards this as his 
last important picture. He returns to the epoch represented in 
the “Louis XIV. and Moliére,” painted in 1863. In the cool of 
sunset, which glows rosily along the upper stories of the range 
of palace, the Court is taking an official airing; the ladies in 
blue-hooded curricles drawn and pushed by grooms, the gentle- 
men attending on foot. In long, punctiliously ceremonious se- 
quence they defile around the ornamental water, headed by the 
curricle of the Waintenon) late Soutrouts widow, now queen over 
Louis's heart and no little of his will, 

In the superb simplicity of her black robe, the stately ar- 
tifice of her lace headdress, and in the studied gestures of 
her arms and hands, her mingling of austerity and attractive- 
ness are admirably characterized. With a subtle blend of def- 
erence and exalted complacency Louis walks beside her, clad in 
a stiffly frocked coat of orange velvet elaborately ornamented 
with jet, in crimson breeches, scarlet stockings, and scarlet-heeled 
shoes. Three charming pages in tunics and trunks of blue silk 
separate Royalty from the following groups. In the latter, under 
the mask of ceremonial stateliness, there lurk more vivacity and 


play of human feelings, The gentlemen are more assiduous in 


pressing their attentions, the ladies more coyly demonstrative in 
receiving them. Yet the ceremony is a dreary one—elegant for- 
malism, unjoyous rigidity of etiquette, insincerity in sumptuous 


attire. 


Signed at the left. 
Height, 31% inches; length, 54% inches. 


65 Boulevard de Clichy, 
PARIS, Sepiember 13, 1900. 


One of my friends who lived at Versailles had invited me to dine with two 
comrades, one of whom was Victorien Sardou. It had been agreed that we should 
go early, so that together we might visit the garden and the Trianon. For some 
reason which I have forgotten I could not be at the meeting at the appointed 
time ; when I did arrive, the others had gone, and I set out to search for them in 
the park. As I could not find them, and it was getting late, I took the road to the 
town. 

It was when I again found myself near the chateau that I was vividly im- 
pressed by the view. The sun was low and just gilded the top of the palace ; while 
above, the moon, of a greenish hue, added a melancholy note, sad, placid, and poetic. 
This vision did not fall into the eye of a blind man, and I understood at once that 
here was the subject for a picture. While I walked along I recalled what I had 
read concerning the times of Louis XIV., and I remembered that the Grand Rot, 
towards the end of his life, drove with Madame de Maintenon about the walks of 
the park in little carriages. 

During the repast I told my friends of my impressions and intentions, and asked 
Sardou if he had not some information about the small carriages of that period, for 
he had accumulated a mass of documents concerning the epoch, and was him- 
self really a walking encyclopedia. ‘‘ Yes,” he said, “I possess all that you 
require—drawings, engravings, and even paintings, which are at your disposal ’’— 
and while talking we reconstructed thescene of the drive. Thus it was that by 
the time the dessert was placed on the table my picture was finished. It only 


remained to execute it. 
[Signed] J. L. Géréme. 


+7 > ne Ft e : : 4 E : AR ec Sagi CS ek en ee 
rare : a ee oe . 3 ¢ pet < : OSG a. 7 - 4 . ce ca as ad aa — SS 


D. RIDGEWAY KNIGHT 


75 (HE LITTLE: SIEPAGRD a 


! 1 | y The meadow is bounded by a row of trees, a stack, and farm 


buildings. In the foreground is a girl with her flock. The sheep 
are grazing unconcernedly ; but.the dog is watching his young 
mistress, his keen instinct telling him that she is preoccupied. 
She has drawn her hood over her head and is gazing pensively at 
the ground ; whether ed oe an ‘* Ave Maria” in response 
to the Angelus, or. simply. plunged in maiden fancies matiers 
little. The gesture is engagingly modest, and adds a touch of 


femininity to the sweet seriousness of the face. 


Signed at the left. 


Height, 44% inches; width, 34% inches. 


AMERICAN ART ASSOCIATION, 
MANAGERS, 


THOMAS E. KIRBY, 


Auctioneer. 


nf 
Res 


ARTISTS REPRESENTED 


ARTISTS REPRESENTED 


BERAUD, Jean, 
In the Place de la Concorde 


BERNE-BELLECOUR, Ert1EnNE-PROSPER, 
Two Arms of the Service 


BLACKMAN, WALTER, 
Felice 


BLOMMERS, B. J., 
Returning Home 


BONHEDUR, AucGustTE, 
Sheep in the Scotch Highlands 


BOUDIN, Louis EucEne, 
On the Oise 


BOUGUEREAU, WILL1AmM ADOLPHE, 
Girl’s Head 


BRICHER, A. T., 
Watching the Yachts 


BROWN, J. G., 
Wants to Shine 


CAVE, JuLes CyriLte, 
Head of a Young Girl 


CATALOGUE 
NUMBERS 


29 


26 


43 


19 


18 


25 


35 


28 


CAZIN, JEAN CHARLES, - CATALOGUE ~ 
NUMBERS 


Cottages in the North 16 
Elsinore ' 44 
The Village of Macherin 47 
Sand Dunes 60 


CHASE, Witt1am MERRITT, 
In Prospect Park 13 


Hi CLAYS, Pau JEAN, 
ni Dutch Boats II 


CORO DBA, 
Morning 48 


COURBET, GustTAvE, 
Low Tide 17 


DAUBIGNY, CuHarLeEs FRANCOIs, 
Evening 46 


DE HAAS, M. F. H., 
Moonlight at Sea 24 


DETAILLE, J. B. Epovarp, 
The Capture of a British Flag at Waterloo 42 


DIAZ, N. V., 
The Virgin and Children 49 
Les Gorges d’Apremont 53 


DIETERLE, Maris, 
A White Cow 54 


DUPRE, Jutes, 


In the English Channel 45 
The Watering Place 50 


GEROME, J. L., Ecececie 


NUMBERS 


Louis XIV. and His Court in the Park 


of Versailles 14 
GRANDJEAN, E.-G., 
In the Park 52 
GUY, S. J., 
Country Courtesy 4 


HARNETT, W. M., 


Still Life 15 
HART, J. M., 
Late Afternoon 38 


HART, Wi1.1ay, 


Cattle and Landscape 7 
Morning Breaking 23 


HENNER, J. J., 
Lola - 30 


ISRAELS, Joser, 
Returning from the Boats 40 


JACQUE, Cuartts E., 


The Poultry Yard 31 

Stable Interior 61 

Shepherdess and Flock 65 
JACQUET, GusTAVE JEAN, 

Brunetta 34 

The Proposal 73 


KNIGHT, D. RIDGEWaAy, 
; The Little Shepherdess 75 


LEFEBVRE, JuLeEs J., 
Sappho 


LEROLLE, HENRI, 
Returning Home 


LOUSTAUNAJU, L. A. G.,, 
The Amateur Artist 


MACY, W. S., 
A Frosty Afternoon 


MADRAZO, R. DE, 
Sweet Do-Nothing 


MARCHETTI, V., 
Comrades 


MARIS, WILLE, 


Landscape and Cattle 


McCORD, GEeEorcE H., 


Sunset in an English Harbor 


MONET, CLaupg, 
Vétheuil 


Old Church at Vernon 


MURPHY, J. FRANCIs, 
Autumn 


PASINI, ALBERTO, 


Market Scene in the Orient 


PISSARRO, CAMILLE, 
The Orchard 


CATALOGUE 


“NUMBERS 


32 


ag 


39 


56 


27 


55 


67 
70 


14 


42 


69 


- RANGER, H. W., 


A November Pasture 


INCH ARDS, W..'T., 
On the South Shore, Newport 


RICO, Martin, 
Church of San Rocco, Venice 


ROUZEE, M., 
Dieppe Fisher-Girls 


SISLEY, ALFRED, 
On the Banks of the Loing : Morning 


SMITH, Henry P., 
San Trovaso, Venice 


SORBI, RAFFAEL, 
A Game of Cards 


TAMBURINI, AnTonio, 
Old Friends 


TASSAERT, OcTAvE, 
The Abandoned 


TER MEULEN, F. P., 
Minding the Flock 


THAULOW, Fritz, 
A Wet Day 


TOJETTI, V., 
The Dancing Lesson 


CATALOGUE 
NUMBERS 


64 
37 


36 


68 
62 


58 


4I 
33 
21 


66 


VAN BOSKERCK, Rosert W., 
On the Niantic 


VEYRASSAT, J. J., 
Going to the Fair 


VIBERT, J. G., 
The Cardinal 


VOLLON, ANTOINE, 
Flowers and Fruit 


VON UHDE, Fritz, 
Good Friday Morning 


WITT, J. H., 
The First Lesson 


WOOD, T. W., 
His First Smoke 


ZIEM, FE.Ix, 


Venice from my Window 
The Old Port of Marseilles 


CATALOGUE 
NUMBERS 


22 


20 


Io 


51 


71 


I2 


57 
63 


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